Thematische Bibliographien / Reception of greek drama

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Auswahl der wissenschaftlichen Literatur zum Thema „Reception of greek drama“

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Veröffentlicht am 23. November 2024

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Zeitschriftenartikel zum Thema "Reception of greek drama"

Jackson, Lucy. „Ghostly Reception and Translation ad spiritum: The Case of Nicholas Grimald’s Archipropheta (1548)“. Translation and Literature 32, Nr. 2 (Juli 2023): 139–56. http://dx.doi.org/10.3366/tal.2023.0546.

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When considering the landscape of drama and theatre performance in the sixteenth century in terms of classical reception, original plays written in Latin have not been accorded full attention. The many hundreds of Latin plays written and performed in England alone in this century were potentially vital locations for experimentation and for the reception not only of obvious Roman models but also of ancient Greek plays. In this article, one example, the biblical Latin drama Archipropheta by the scholar, poet, and playwright Nicholas Grimald (1519–1562), is examined to show how it is haunted by ancient Greek tragedy. This haunting speaks to the anti-chronological way in which reception of this kind might have worked, with audiences’ first encounters with Greek tragedy as such being shaped by the receptions of Greek tragedy they had already witnessed in original Latin plays such as this.

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Revermann, Martin. „Reception Studies of Greek Drama“. Journal of Hellenic Studies 128 (November 2008): 175–78. http://dx.doi.org/10.1017/s0075426900000124.

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Pormann, Peter E. „Greek Thought, Modern Arabic Culture: Classical Receptions since the Nahḍa“. Intellectual History of the Islamicate World 3, Nr. 1-2 (2015): 291–315. http://dx.doi.org/10.1163/2212943x-00301011.

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This article surveys the growing, yet largely understudied field of classical receptions in the modern Arab world, with a specific focus on Egypt and the Levant. After giving a short account of the state of the field and reviewing a small number of previous studies, the article discusses how classical studies as a discipline fared in Egypt; and how this discipline informed modern debates about religous identity, and notably views on the textual history of the Qurʾān. It then turns to three literary genres, epic poetry, drama, and lyrical poetry, and explores the reception of classical literature and myth in each of them. It concludes with an appeal to study this reception phenomenon on a much broader scale.

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Hamilton, John T. „Aspects of reception: reading Goethe’s Iphigenie auf Tauris with Adorno, Fassbinder, and Jauss“. Classical Receptions Journal 12, Nr. 2 (17.10.2019): 129–48. http://dx.doi.org/10.1093/crj/clz016.

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Abstract In staging his Iphigenie auf Tauris, Johann Wolfgang Goethe stages reception itself. The story about a Mycenaean maiden who, exiled from her home in the South, was welcomed and sheltered by the barbarian people of the North, readily represents how the corpus of ancient Greek culture, detached from its native historical context, came to be received and curated by German artists, poets, and scholars, including, of course, by Goethe himself. If Goethe’s text is indeed understood as an allegory of reception, then subsequent readings of his Iphigenie should exhibit any number of ways in which reception itself has been formulated and assessed. The investigations here all turn on the issue of verbal aspect. By turning to key German interpretations of Goethe’s drama by Theodor Adorno, Rainer Werner Fassbinder, and Hans Robert Jauss, which emerged during the socially and politically tumultuous period of 1967–73, the present study aims to give a critical account of receptive paradigms — an account based on an investigation into the varied aspects that distinguish different historical receptions of reception.

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Foley, Helene. „Classics and Contemporary Theatre“. Theatre Survey 47, Nr. 2 (12.09.2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.

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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associates Pantelis Michelakis and Amanda Wrigley—are at the forefront, along with Lorna Hardwick and her associates at the U.K.'s Open University, in organizing conferences and lecture series; these have already resulted in several volumes that aim to understand the recent explosion of performances as well as to develop a more extensive picture of earlier reception of Greek and Roman drama (above all, Greek tragedy, to which this essay will be largely confined).2 These scholars, along with others, have also tried to confront conceptual issues involved in the theatrical reception of classical texts.3 Most earlier work has confined itself to studies of individual performances and adaptations or to significant directors and playwrights; an important and exemplary exception is Hall and Macintosh's recent Greek Tragedy and British Theatre 1660–1914.4 This massive study profits from an unusually advantageous set of archival materials preserved in part due to official efforts to censor works presented on the British stage. Oedipus Rex, for example, was not licensed for a professional production until 1910 due to its scandalous incest theme. This study makes a particular effort to locate performances in their social and historical contexts, a goal shared by other recent studies of postcolonial reception discussed below.5 For example, British Medeas, which repeatedly responded to controversies over the legal and political status of women, always represented the heroine's choice to kill her children as forced on her from the outside rather than as an autonomous choice. Such connections between the performance of Greek tragedy and historical feminism have proved significant in many later contexts worldwide. Work on the aesthetic side of performances of Greek drama, including translation, is at an earlier stage, but has begun to take advantage of important recent work on ancient staging, acting, and performance space.6

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Georgopoulou, Varvara. „Theatre in Greece during the Interwar Period: A General Overview“. CONCEPT 27, Nr. 2 (15.07.2024): 26–41. http://dx.doi.org/10.37130/8a1ny819.

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The article attempts to provide an overall overview of the Greek theatre during the interwar period. Specifically, it examines the conditions that influenced playwriting and the establishment and operation of theatrical troupes and institutions. The interwar period sheds light on modern Greek theatre and its darker side, leading up to the current theatrical landscape. The article summarises its impact on theatrical practice, the reception of ancient drama, and the emergence and consolidation of important domains such as directing and theatre criticism within the institutionalisation of basic demands.

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Özalpman, Deniz, und Katharine Sarikakis. „The politics of pleasure in global drama: A case study of the TV series, The Magnificent Century (Muhteşem Yüzyıl)“. Global Media and Communication 14, Nr. 3 (11.07.2018): 249–64. http://dx.doi.org/10.1177/1742766518780168.

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This article is concerned with the ways in which local/national drama becomes a global success, which strategies are developed to appeal to viewers within different cultural settings and how far this shift is important when re/thinking audience reception studies. The study answers this question by exploring the television (TV) drama series, The Magnificent Century (2011–2014) by conducting in-depth interviews in the Greek capital Athens and the Moroccan capital Rabat with viewers and the production and distribution team of the series. The findings show that potentials for pleasure in the consumption of drama are designed from the very beginning when thinking globally, to reduce cultural differences to a minimum, to finally fuse audiences’ interpretative practices beyond cultural polarization to common understandings.

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Αθήνη, Στέση. „Οι νεοελληνικές τύχες του Αλκιβιάδη ως το τέλος του 19ου αιώνα“. Σύγκριση 25 (16.05.2016): 1. http://dx.doi.org/10.12681/comparison.8787.

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The beginning of the closer acquaintance of Modern Greek literature with Alcibiades’ forceful personality is located during the years of Greek Enlightenment, with the discovery of the world of History and the “return to the antiquity” through foreign texts, translated into Greek. Nevertheless, Alcibiades’ appearance as a literary character was delayed compared with his reach European literary fortunes. Alcibiades appears in 1837 through Alcibiades byAugustusGottliebMeissner, a translated “bildungsroman” from German, and half a century later through a second translation, from Italian this time, the homonymous FelicioCavallotti’s historical drama (1889). Examining closely these two texts and considering their presence in the source literatures as well as the terms of their reception in Greek it is concluded that Socrates’ disciple array with literary raiment served the ideological schema aiming at the strengthening of the relations between Modern Greek culture and antiquity and simultaneously the European family.

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Kaltsounas, Efthymios, Tonia Karaoglou, Natalie Minioti und Eleni Papazoglou. „‘Communal Hellenism’ and ancient tragedy performances in Greece (1975‐95): The ritual quest“. Journal of Greek Media & Culture 7, Nr. 1 (01.04.2021): 69–103. http://dx.doi.org/10.1386/jgmc_00028_1.

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For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled ‐ and as such: ritualized ‐ in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity can be traced and explored through the direct employment of Byzantine and folk ritual elements. Both aimed at eliciting the cohesive collective response of their spectators: their turning into a liminal ritual community. This was a community tied together under an ethnocentric identity, that of Greeks participating in a Greek (theatrical) phenomenon. At first through neoclassicism, then through folklore, this artistic phenomenon was seen as documenting a diachronic and essentially political modern Greek desideratum: continuity with the ancient past.Such developments were in tune with broader cultural movements in the period under study, which were reflected on the common imaginings of Antiquity in the modern Greek collective ‐ consciousness ‐ a sort of ‘Communal Hellenism’. The press reception of performances, apart from being a productive vehicle for the study of the productions as such, provides indispensable indexes to audience reception. Through the study of theatre reviews, we propose to explore the crucial shifts registered in the definition of Greekness and its dynamic connections to Antiquity.

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Morrison, A. D. „Dead Letter Office? Making Sense of Greek Letter Collections“. Bulletin of the John Rylands Library 97, Nr. 2 (22.12.2021): 1–18. http://dx.doi.org/10.7227/bjrl.97.2.1.

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The letter collections of Greco-Roman antiquity dwarf in total size all of ancient drama or epic combined, but they have received far less attention than (say) the plays of Euripides or the epics of Homer or Virgil. Although classicists have long realised the crucial importance of the order and arrangement of poems into ‘poetry books’ for the reading and reception both of individual poems and the collection as a whole, the importance of order and arrangement in collections of letters and the consequences for their interpretation have long been neglected. This piece explores some of the most important Greek letter collections, such as the Letters attributed to Plato, and examines some of the key problems in studying and editing collections of such ancient letters.

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Dissertationen zum Thema "Reception of greek drama"

Vedelago, Angelica. „The Reception of Sophocles'"Antigone" in Early Modern English Drama“. Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3425407.

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This thesis analyses the reception of Sophocles’ Antigone in early modern English drama in the form of translation and adaptation. It focusses on the only two extant texts that can be defined as a translation or an adaptation of Sophocles’ Antigone by English authors in the early modern period: "Sophoclis Antigone" (1581), a Latin translation by Thomas Watson, and "The Tragedy of Antigone, The Theban Princesse" (1631), an English adaptation by Thomas May. Opting for the historicist strand within reception studies, I argue that these two English Antigones intersect at a crossroads of contexts – theoretical, cultural, literary, and political. Only within these perspectives can these plays be fully understood and their value reassessed. Combining Sophocles’ tragedy both with other classical sources and contemporary models, the two texts challenge the traditional understanding of the early modern compositional approaches of "translation" and "adaptation". Moreover, by potentially alluding to contemporary events, Watson’s and May’s versions of Antigone partly align with, partly destabilize modern interpretations of the Sophoclean original. As direct and declared engagements with the Sophoclean play, Watson’s and May’s "Antigones" are ideal case studies for the flexible conception of the practices of translation and adaptation and for the close relationship between politics and drama in the early modern period.

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Riley, Kathleen. „The reception and performance of Euripides' Herakles : reasoning madness“. Oxford [u.a.] Oxford Univ. Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199534487.001.0001.

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Zaroulia, Marilena. „Staging the Other/Imagining The Greek : Paradigms of Greekness in the reception of post-1956 English drama in the post-colonels Athens (1974-2002)“. Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498255.

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This thesis investigates performances of and critical responses to English plays that have been written and performed in the post-1956 period and subsequently been staged in Athens in the years following the downfall of the colonels' dictatorship. Theatre productions and reviewing are located within or positioned against the specific socio-political, ideological and cultural matrices that helped determine each intervention. The central focus of the thesis is an exploration of the relation between theatre and Greek national identity. Starting from Benedict Anderson's definition of the nation as 'imagined community', the thesis challenges the established conceptualisation of Greekness as bound up with the dichotomy of 'Greek' and 'Other'. It accounts for the articulation of this dichotomy in the reception of English drama, demonstrating the ways in which English texts were perceived - mainly by the reviewers - as 'Other'. Each case study destabilises this clear opposition between 'Greek' and 'English Other', suggesting an alternative way of 'imagining' Greekness as constantly shifting and performed in 'the present moment'. The Introduction presents the thesis' objectives, methodology, and a brief survey of relevant literature on theatre and national identity. Chapter One engages with the debate about the nation and national identity, and provides the theoretical framework for a fuller comprehension of the 'making' of Greekness. Each of the next four chapters explores specific case studies: the production of Ayckbourn's Absurd Person Singular (1974, Chapter Two); Osborne's Look Back in Anger, Pinter's The Caretaker and Churchill's Top Girls (1982-3, Chapter Three); Bond's Summer (1990, Chapter Four); and Churchill's The Skriker and Ravenhill's Some Explicit Polaroids (1999-2001, Chapter Five). The thesis includes two appendices: the first lists productions of English plays that opened in Athens during these three decades while the second includes selected photographs of the productions.

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SIDOTI, NELLO. „La circolazione della tragedia in età pre-alessandrina: le testimonianze“. Doctoral thesis, Urbino, 2018. http://hdl.handle.net/11576/2657901.

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Karaferias, Philippos. „Larmes politiques : Étude sur la fonction politique du deuil et des lamentations rituelles dans la tragédie athénienne et ses mises en scène contemporaines en Grèce (XXe-XXIe siècles)“. Electronic Thesis or Diss., Université Grenoble Alpes, 2024. http://www.theses.fr/2024GRALL009.

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La lamentation poétique dans le contexte d'une tragédie antique a impliqué la recherche scientifique de différentes manières. Dans le cadre de cette thèse, les aspects qui promeuvent la dimension politique de la lamentation seront étudiés : c'est-à-dire les lamentations théâtrales de la Grèce antique et la manière dont la dimension politique qui y est souvent contenue influence par le théâtre la réalité politique du Ve siècle. À travers une analyse de vocabulaire et une analyse structurelle des lamentations choisies, on tentera de montrer comment le deuil, un outil rituel, peut critiquer les plus importants comportements historiques, politiques et sociaux de son époque. Ainsi, en analysant le développement des lamentations politiques dans les tragédies d'Eschyle, de Sophocle et d'Euripide, nous allons tout d'abord nous familiariser avec un aspect très important du deuil, encore inexploré, et en même temps montrer, sous un angle différent, la relation entre la tragédie et la politique à l'époque classique. La deuxième partie de la thèse concerne la reprise de la tragédie antique en Grèce du XXe et XXIe siècle . Avec l'étude des traductions et des performances novatrices pour l'époque, nous clarifierons le rôle de l'élément lamentable dans les événements qui ont choqué le XXe et XXIe siècle et dans la création de nouveaux mouvements et idées théâtraux
The poetic lamentation of a tragedy provides the science with different kinds of research. As part of this thesis, the aspects that promote the political dimension of lamentation will be studied; that is, the theatrical lamentations of ancient Greece and the way the political dimension, that is often contained, influence the political reality of the 5th century through the theatrical plays. Through the vocabulary and the structural analysis of a certain choice of lamentations we will try to show how grieve, a ritual tool can caracterize the most essential historical, political and social aspects. Thus, by analyzing the development of political lamentations in the tragedies of Eschyle, Sophocles and Euripides, we will become familiar with a very important aspect of grieve, still unexplored, and at the same time, from a different point of view, with the relation between tragedy and politics during the classical era. The second part of the thesis is about the reception of the ancient greek tragedy in Greece during the XXth and XXIst century. The study of modern translations and pioneer theatrical plays shed the light on the role of the lamentation's element in the events that shocked the XXth and XXIst century and on the development of new theatrical mouvements and ideas

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Taietti, G. D. „The Greek reception of Alexander the Great“. Thesis, University of Liverpool, 2017. http://livrepository.liverpool.ac.uk/3007776/.

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The present thesis explores how the personality, image, and deeds of Alexander the Great have been interpreted, reshaped, and exploited by the Greeks from Antiquity to the Modern era. The main focus is the understanding of the metamorphosis of the historical persona of Alexander into a god-like mythological figure and a Hellenic national hero, researching the origins of the Alexander-myth and how it operates in response to different historico-political, social and cultural stimuli for the Greeks. The thesis is structured in two sections: first, the modern, and secondly, the ancient, which, while displaying its variety, also highlight the overall organic nature of the ongoing Greek Alexander-Reception. The first section offers an introduction to the peculiarities of the Modern myth-making of Alexander (chapter one); it explores the reshaping of the Macedonian hero in Hellenic folk production, such as tales, myths, traditions, spells and songs (chapter two), and in Theodore Angelopoulos’ debated film Megalexandros (chapter three). The second section discusses the Ancient myth-making of Alexander and its relevance in the twenty-century Greek cultural and political milieu (chapter four); specifically, it focuses on the reshaping and interpretation of the king of Macedon by Ptolemy I (chapter five) and by Julian the Apostate and his entourage (chapter six). This section concludes with a study on the early representations of Alexander, which shows how his contemporary historians borrowed from Herodotus narrative tropes and descriptions of the Achaemenids to explain the Macedonian campaign against Persia, making him a Herototean-like Persian king and creating a fictional character that, to a certain extent, dates back before the historical persona. The case-studies jointly argue that Alexander is a historiographical mirage constantly reinvented by the Greeks, who ascribe to him new deeds, legends, and characteristics according to their historical and cultural needs. The Macedonian hero moves forward into the next period charged with all the previous meanings, which he will deliver to his new audience. In this way, Alexander is both the recipient and the bearer of the Greeks’ cultural identity.

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Meineck, Peter. „Opsis : the visuality of Greek drama“. Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/12117/.

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How were Greek plays viewed in the fifth century BCE and by deepening our understanding of their visual dimension might we increase our knowledge of the plays themselves? The aim of this study is to set out the importance of the visual (opsis) when considering ancient Greek drama and provide a basis for constructing a form of “visual dramaturgy” that can be effectively applied to the texts. To that end, this work is divided into five sections, which follow a “top-down” analysis of ancient dramatic visuality. The analysis begins with a survey of the prevailing visual culture and Greek attitudes about sight and the eye. Following this is an examination of the roots of drama in the performance of public collective movement forms (what I have called “symporeia”) and their relationships to the environments they moved through, including the development of the fifth century theatre at the Sanctuary of Dionysos Eleuthereus in Athens. The focus then falls on the dramatic mask and it is proposed here that operating in this environment it was the visual focus of Greek drama and the primary conveyer of the emotional content of the plays. Drawing on new research from the fields of cognitive psychology and neuroscience relating to facial processing and recognition, gaze direction, foveal and peripheral vision and neural responses to masks, movement and performance, it is explained how the fixed dramatic mask was an incredibly effective communicator of dramatic emotion capable of eliciting intensely individual responses from its spectators. This study concludes with a case study based on Aeschylus Oresteia and the raising of Phidias’ colossal bronze statue of Athena on the Acropolis and the impact that this may have had on the original reception of the trilogy.

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Geller, Grace. „Translations and adaptations of Euripides' Trojan Women /“. Norton, Mass. : Wheaton College, 2010. http://hdl.handle.net/10090/15122.

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Stefanidou, Agapi. „The Reception of epic Kleos in Greek Tragedy“. The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386695983.

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Kampourelli, Vassiliki. „Space in Greek tragedy“. Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/space-in-greek-tragedy(bd3d0365-0a17-47b5-a2b0-e7739f9c0255).html.

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Bücher zum Thema "Reception of greek drama"

van Zyl Smit, Betine, Hrsg. A Handbook to the Reception of Greek Drama. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.

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Reig, Montserrat, und Montserrat Reig. Drama, philosophy, politics in Ancient Greece: Contexts and receptions. Barcelona: Universitat de Barcelona, Publicacions i Edicions, 2013.

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Hadas, Moses. Greek Drama. New York: Random House Publishing Group, 2006.

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Hunter, Gwen. Greek drama. Auckland, N.Z: Longman, 1996.

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Harold, Bloom, Hrsg. Greek drama. Philadephia: Chelsea House, 2004.

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E, Easterling P., und Knox Bernard MacGregor Walker, Hrsg. Greek drama. Cambridge: Cambridge University Press, 1989.

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1947-, Nardo Don, Hrsg. Greek drama. San Diego, CA: Greenhaven Press, 2000.

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Hanna, Scolnicov, und Holland Peter 1951-, Hrsg. Reading plays: Interpretation and reception. Cambridge [England]: Cambridge University Press, 1991.

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Aeschylus, Euripides und Sophocles, Hrsg. Classic Greek drama. Avenel, NJ: Gramercy Books, 1996.

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Fantuzzi, Marco, und Christos Tsagalis, Hrsg. The Greek Epic Cycle and Its Ancient Reception. Cambridge: Cambridge University Press, 2015. http://dx.doi.org/10.1017/cbo9780511998409.

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Buchteile zum Thema "Reception of greek drama"

Monaghan, Paul. „Greek Drama in Australia“. In A Handbook to the Reception of Greek Drama, 422–45. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch22.

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Ewans, Michael. „Greek Drama in Opera“. In A Handbook to the Reception of Greek Drama, 464–85. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch24.

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Meineck, Peter. „Greek Drama in North America“. In A Handbook to the Reception of Greek Drama, 397–421. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch21.

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Almohanna, Mohammad. „Greek Drama in the Arab World“. In A Handbook to the Reception of Greek Drama, 364–81. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch19.

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Miles, Sarah. „Greek Drama in the Hellenistic World“. In A Handbook to the Reception of Greek Drama, 45–62. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch3.

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Goff, Barbara. „The Reception of Greek Drama in Africa“. In A Handbook to the Reception of Greek Drama, 446–63. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch23.

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Brown, Peter. „Greek Comedy at Rome“. In A Handbook to the Reception of Greek Drama, 63–77. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch4.

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Symes, Carol. „Ancient Drama in the Medieval World“. In A Handbook to the Reception of Greek Drama, 95–130. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch6.

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Wetmore, Kevin J. „The Reception of Greek Tragedy in Japan“. In A Handbook to the Reception of Greek Drama, 382–96. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch20.

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Schironi, Francesca. „The Reception of Ancient Drama in Renaissance Italy“. In A Handbook to the Reception of Greek Drama, 131–53. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch7.

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Konferenzberichte zum Thema "Reception of greek drama"

ARMAȘU-CANȚÎR, Ludmila, und Liliana SCÎNTEI. „Approaching drama strategies to optimize oral message reception skills“. In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v2.24-25-03-2023.p241-246.

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Communicating involves expression and reception, two aspects that intermingle and influence each other. Optimizing the oral reception process is one of the concerns of kindergarten and primary school teachers. Reception disorders, such as, lack of attention, misunderstanding the message or lack of involvement, lead to the failure of the act of communication. In the context of current concerns about functional literacy, there is an increasing emphasis on expressive reading aloud to children in class by experienced readers such as: older students, parents, teachers, actors or writers. Such an activity focuses on emotional development, but also has obvious intellectual benefits: enriching vocabulary, learning phonics that give expressiveness to language, improving attention and practicing comprehension. However, listening is currently approached as a multidimensional competence that includes cognitive, behavioral and affective components. The affective components of listening take into consideration how/the way students engage in listening, motivation for listening, willingness and pleasure to listen. When listening is stimulated through game-exercises, dramatization, role-play and storytelling techniques, it has positive effects on both comprehension and attention, as well as on performance in interpersonal communication. The main purpose of this work stems from the need to stimulate the development of oral reception in young schoolchildren, an important component of the communication and interpersonal relations competence. This study provides a clearer perspective on the use of dramatic strategies for the development of oral message reception competence.

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Listiani, Endri, Deddy Mulyana, Edwin Rizal und Ahmad Mulyana. „The Reception Audience of the Woman’s Beauty in Korean Drama“. In Proceedings of the Social and Humaniora Research Symposium (SoRes 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/sores-18.2019.59.

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Andrikopoulou, Evanthia, und Konstantina Koutrouba. „GREEK PRIMARY SCHOOL TEACHERS' PERCEPTIONS ABOUT USING DRAMA-BASED ACTIVITIES IN THE CONTEXT OF ENVIRONMENTAL EDUCATION“. In 11th annual International Conference of Education, Research and Innovation. IATED, 2018. http://dx.doi.org/10.21125/iceri.2018.0910.

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Mitov, Georgi. „Some Aspects of the Slavonic Reception of Isidore of Pelusium: An Isidorian Letter in Constantine of Preslav’s Didactic Gospel /“. In Учителното евангелие на Константин Преславски и южнославянските преводи на хомилетични текстове (IX-XIII в.): филологически и интердисциплинарни ракурси / Constantine of Preslav’s Uchitel’noe Evangelie and the South Slavonic Homiletic Texts (9th-13th century): Philological and Interdisciplinary Aspects. Institute of Balkan Studies and Centre of Thracology – Bulgarian Academy of Sciences, 2024. http://dx.doi.org/10.62761/491.sb37.04.

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The article focuses on the Slavonic reception of Isidore of Pelusium, which has been commonly regarded as one of the most neglected aspects of the medieval reception of this patristic author. The starting point of this article is a recent discovery that a passage of the thirty-fifth homily in Constantine of Preslav’s Didactic Gospel corresponds to a letter by Isidore of Pelusium. The present study proves that the corresponding Greek text of this passage belongs to a particular Isidorian letter, which is distributed not only in the Greek catenae manuscripts, used by Constantine of Preslav for the composition of his Didactic Gospel, but also as a separate letter in his epistolary corpus (lib. IV, ep. 123/ ep. 1959). In this way, the article reveals some new aspects of the Slavonic reception of Isidore of Pelusium.

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Veličković, Nemanja. „Reception of the Theology of Metropolitan John Zizioulas among Serbian Theologians“. In Naučni skup Doprinos mitropolita pergamskog Jovana (Zizijulasa) savremenom sistematskom bogoslovlju. Univerzitet u Beogradu, Institut za Sistematsko bogoslovlje Pravoslavnog bogoslovskog fakulteta, 2024. http://dx.doi.org/10.46793/mitjovan23.033v.

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Within the diverse landscape of Orthodox theology, relationships among prominent theologians often represent a fascinating interplay of ideas, interpretations, and interactions. Zizioulas, a prominent Greek theologian whose ideas have deeply influenced contemporary Ortho- dox thought, encountered Serbian theologians within the richness of Orthodox theological discourse. In this spirit, this paper will trace the relationship between Metropolitan John Zizioulas and Serbian theologi- ans through key periods of his life — from youth to maturity. Emphasis is placed on the fact that this paper does not aim at specific doctrinal teachings but presents a characteristic chronological overview of Ziziou- las’ influence in our region, as well as the impact and reactions he pro- voked among leading academic theologians, which continue to this day

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Fang, Zhijuan. „A Study on Japanese Film and TV Drama Remakes from the Perspective of Reception Aesthetics Centered on the Chinese Version of Midnight Food Store“. In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.133.

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Mikulka, Thomáš. „Към славянската рецепция на византийските катени извън състава на Учително евангелие / On the Reception of the Byzantine Catenae among Slavs Outside the Didactic Gospel“. In Учителното евангелие на Константин Преславски и южнославянските преводи на хомилетични текстове (IX-XIII в.): филологически и интердисциплинарни ракурси / Constantine of Preslav’s Uchitel’noe Evangelie and the South Slavonic Homiletic Texts (9th-13th century): Philological and Interdisciplinary Aspects. Institute of Balkan Studies and Centre of Thracology – Bulgarian Academy of Sciences, 2024. http://dx.doi.org/10.62761/491.sb37.14.

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In this paper the research showed that apart from Didactic Gospel more writings depend on Byzantine catenae. Of the few Slavic texts found, the sermon on the Nativity of John the Baptist was thoroughly analysed. The translation is rich and varied, respecting the target Slavic language. The lexicon of the Homily is very ancient, which is supported by rare words (иночѧдъ) and loanings from Greek (продромъ). Some ancient forms could be reconstructed: сѧтъ and роꙁьство, phonetically related to the Slavic West. Three homilies from Clozianus codex (on Palm Sunday, on Maundy Thursday and on Good Friday) show similar linguistic characteristics. The translation could be dated in the late 9th century, perhaps even earlier than the Didactic Gospel.

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Magiru, Anca, und Ionel Magiru. „SUGGESTOPEDIA, A SERIOUS COMPETITIVE GAME“. In eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-146.

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The paper aims to show how suggestopedia, a dynamic, full of life class game, can become a way of delivering advanced conversational competence quickly. What makes this game interesting and attractive is that learning occurs through suggestion while the students are in a deeply relaxed state which is induced by music. The instructor should choose what kind of music he/she considers suitable for the topic which is introduced. Although the goal is understanding and not memorisation, the students are required to master prodigious vocabulary lists. This type of game implies initiatives, questions and answers, role play, listening exercises under deep relaxation. From the psychological point of view, and related to the ways of learning, the game matches perfectly with two of the four types of learners, namely: the Player and the Feeler. The Player is the student who likes being with people and enjoys variety and change, prefers listening and speaking to reading and writing, prefers playing games and working in groups to writing exercises, prefers competition and excitement to practice and homework, prefers trying lots of different activities to doing long projects, enjoys participating and performing, hates doing the same thing lesson after lesson, would like to do different things all the time. He/she enjoys vocabulary race. The Feeler is a good language learner who loves interacting and group and pair work and is interested in talking about emotions and personal topics. He/she enjoys being with people and learns through cooperation, prefers taking part in discussions to studying rules and doing exercises, like reading, role play and drama, is very sensitive to criticism and needs individual feedback and prefers speaking to writing. Suggestopedia must maintain a passive state among the students and also allow the materials to work on them rather than vice-versa. The instructor’s role is to create situations in which the students are most suggestible and present materials in a way most likely to encourage positive reception and retention. The instructor must emanate authority and confidence. The texts used should have force, literary quality and interesting characters. What we are going to do is to offer two sample lesson plans, one based on a literay text, the other one on a detective short story in order to prove how suggestopedia works like a way of learning.

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