Thematische Bibliographien / Widows – Drama

Auswahl der wissenschaftlichen Literatur zum Thema „Widows – Drama“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Widows – Drama"

Shafiq, Saba, Saif Ullah und Muhammad Ayub. „Socio- Cultural Challenges for Widows: A Case Study in district Lahore, Punjab“. March 3, Nr. 1 (31.03.2024): 245–56. http://dx.doi.org/10.61503/cissmp.v3i1.139.

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This research study focuses on the socio-cultural problems faced by widows in the district of Lahore, Punjab, Pakistan, and the current causes of their defame helplessness and disdainful status while living in their own community and facing barriers. The stigma around widows played a significant role in their marginalization within society and the community. This limited the widow’s views and caused her to be destitute in life. We used a purposeful sampling method in this qualitative research study. We collected information from the twenty respondents through in-depth interviews. The aim of the in-depth interview is to address the socio-cultural problems posed by widows in Lahore. The respondents’ widows were of lower socio-economic status. The results of the study show that a widow is waiting for a new challenge every day; however, widows do have some opportunities like financial assistance and skill development through government institutions as well as the private sector. They become victims of stereotypical ideas and face many social and cultural problems, such as violence, family indifference, poverty, depression, etc. A widow is fighting for her freedom, but there is no awareness. This study proposed potential strategies to tackle the social and cultural issues faced by widows, including raising media awareness through drama and setting up an economic package system for widows.

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Wyatt, Bethany. „‘You wish to follow your heart, and I wish to nurture my mind’: The figures of the spinster and widow in Bridgerton“. Journal of Popular Television, The 11, Nr. 1 (12.04.2023): 45–53. http://dx.doi.org/10.1386/jptv_00092_1.

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As a romantic drama fictionalizing the Regency marriage mart, Bridgerton () is a series which privileges women’s experiences. From the debutantes entering society, to their ‘ambitious mamas’, feminine narratives play out across the two seasons which have aired to date. Warranting particular attention are the figures of the widow and the ‘spinster’, whose representations this article explores. Bridgerton’s widows are presented as dynamic characters at the centre of their families and the ‘bon ton’, embodying the freedoms elite widows could enjoy. In contrast, the spinster is a topic of (negative) discussion but absent physically, despite the many elite Georgian women who never married. Ideals of independence are explored in some of Bridgerton’s young protagonists, but these are ultimately limited in the constraints of the drama’s romanticized Regency world.

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Bodnar, Hałyna. „Wojna w jednym losie“. Krakowskie Pismo Kresowe 9 (30.09.2018): 91–111. http://dx.doi.org/10.12797/kpk.09.2017.09.04.

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The War in One Fate: Biographical Narratives of Widows of Soviet Servicemen on the Basis of Letters to the Authorities of Lviv in 1944-1945The article analyzes letters written in late 1944 and in 1945 by widows of Soviet servicemen to the authorities of the city of Lviv requesting a permit to move or return to Lviv, the construction of women’s biographical narratives and the image of women in the war. The main topic discussed in post-war correspondence was the war trials and different fates of women sharing the experience of life in Lviv in 1939 -1941. It demonstrates similar strategies of survival and communication with the totalitarian state, and the contradictory image of woman in war time. The personal drama of her husband’s death, the sudden collapse of the social hierarchy, and, in particular, the destruction of “pre-war” housing stock in Lviv and other livelihood opportunities in a big city, prompted woman, in the already partly assumed role of the head of the family, to look for ways to regain their former position. Probably, they wrote special letters, among many other quite similar appeals to the government, in order to attract attention to themselves. The narrative analysis of the letters has made it possible to isolate the images of Lviv in the representations of people of the (post)war period, to disclose the „Soviet language” and the (un)typical gender-related aspects of texts written by women.

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Aldarubi, Fathira Deiza. „IMPLEMENTASI GAYA PENYUTRADARAAN EXPOSITORI DALAM FILM DOKUMENTER “SEMUT IBRAHIM”“. LAYAR: Jurnal Ilmiah Seni Media Rekam 9, Nr. 2 (02.02.2023): 103. http://dx.doi.org/10.26742/layar.v9i2.2419.

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ABSTRACT The activity of 99 Home Improvements for Widows of the Elderly is a social movement carried out by Semut Ibrahim Kompassmatic. This activity contains a noble culture of gotong royong, social interaction that shows cooperation between individuals and between groups and forms positive values that strengthen mutual trust to cooperate in dealing with problems of common interest. The main purpose of this movement is to awaken the spirit of mutual cooperation in the community, because mutual cooperation for Semut Ibrahim is a national germplasm that must be maintained, cared for, and passed on. The creation of this documentary film was initiated through research using qualitative methods followed by stages including pre-production, production and post-production. Documentary film directing applies expository Documentary which relies on logical information, presented through text or sound. The presence of images or visuals is only a support. Images are presented as illustrations, amplify sound, build drama, or are presented as contradictions with sound. The production of the Semut Ibrahim documentary film is the author's attempt to introduce the “99 Movement for the Surgery of the Semut Ibrahim Widow House” and to interpret the mutual cooperation culture contained therein. Film work, it is hoped that the data will inspire the community that fellow human beings can jointly create solidarity to help each other alleviate the suffering of people in need. ABSTRAK Gerakan 99 Bedah Rumah Janda Jompo merupakan gerakan sosial yang dilakukan oleh Semut Ibrahim Kompassmanic. Aktifitas ini mengandung budaya luhur gotong royong, interaksi social yang menunjukan bentuk kerjasama antar individu dan antar kelompok serta membentuk nilai-nilai positif yang memperkuat rasa saling percaya untuk melakukan kerjasama dalam menangani permasalahan yang menjadi kepentingan bersama. Tujuan utama gerakan ini untuk membangkitkan semangat gotong royong masyarakat, karena gotong royong bagi Semut Ibrahim merupakan plasma nutfah kebangsaan yang harus dijaga, rawat, dan diwariskan. Penciptaan film documenter ini dimulai melalui penelitian dengan metode kualitatif dilanjutkan dengan tahapan meliputi pra produksi, produksi dan paska produksi. Penyutradaraan film dokumenter menerapkan Dokumenter ekspositoris yang bersandar pada informasi logis, disajikan melalui teks maupun suara. Kehadiran gambar atau visual merupakan pendukung saja. Gambar dihadirkan sebagai ilustrasi, memperkuat suara, membangun drama, ataupun dihadirkan sebagai kontradiksi dengan suara. Produksi Film dokumenter Semut Ibrahim merupakan upaya penulis untuk memperkenalkan “Gerakan Bedah 99 Rumah Janda Jompo Semut Ibrahim” serta memaknai budaya gotong royong yang terkandung di dalamnya. Karya Film, diharapkan data mengsinspirasi masyarakat bahwa sesama manusia bisa bersama-sama mewujudkan solidaritas membantu sesama meringankan penderitaan hidup masyarakat yang membutuhkan.

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Kim, Heeyoung. „Analysis of Korean Nursing Studies Applied in Interpersonal Caring Theory“. Journal of Korean Academy of Fundamentals of Nursing 27, Nr. 2 (28.05.2020): 116–28. http://dx.doi.org/10.7739/jkafn.2020.27.2.116.

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Purpose: This study was conducted to analyze Korean research papers in which Interpersonal Caring Theory was applied and suggest future directions for effective application and development. Methods: Data collection was done through electronic databases RISS, KISS, DBpia, NDSL and SCHOLAR. Twenty papers were analyzed according to general characteristics, interventions, variables and findings. Results: The number of published papers per publication year was 5 in the 2000s and 15 in the 2010s. The type of research design was for case studies, 1, for survey studies, 8 and for quasi experimental studies, 11. Participants in the studies included students, nurses, patients, office workers, volunteers and widows. Interventions used included drama therapy, Enneagram based interpersonal caring, horticulture, hospice, multimedia, music and rehabilitation. Variables that were related to Interpersonal Caring work included anxiety, college life adjustment, emotional intelligence, grief, happiness heart rate variability, hope, interpersonal caring behaviors, interpersonal relations, job stress, knowledge on self illness, loneliness, mental health, quality of life, self-esteem, serum cortisol, social behavior and stress coping. Emotional intelligence, interpersonal relations, job stress, loneliness and self-esteem were among the variables that did not work. Conclusion: The results show that Interpersonal Caring Theory can be a micro-range theory of nursing care that can be applied with clients in many fields by converging with various activities.

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Traub, Valerie. „Daughters, Wives, and Widows: Writings by Men about Women and Marriage in England, 1500-1640. Joan Larsen KleinFashioning Femininity and English Renaissance Drama. Karen NewmanStaging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy. Barbara Freedman“. Signs: Journal of Women in Culture and Society 20, Nr. 1 (Oktober 1994): 200–204. http://dx.doi.org/10.1086/494965.

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Bronk, Katarzyna. „“Next Unto the Gods My Life Shall Be Spent in Contemplation of Him”: Margaret Cavendish’s Dramatised Widowhood in Bell in Campo (I&II)“. Studia Anglica Posnaniensia 52, Nr. 3 (01.12.2017): 345–62. http://dx.doi.org/10.1515/stap-2017-0013.

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Abstract Margaret Cavendish (1623–1673) is nowadays remembered as one of the most outspoken female writers and playwrights of the mid-seventeenth-century; one who openly promoted women’s right to education and public displays of creativity. Thus she paved the way for other female artists, such as her near contemporary, Aphra Behn. Although in her times seen as a harmless curiosity rather than a paragon to emulate, Cavendish managed to publish her plays along with more philosophical texts. Thanks to the re-discovery of female artists by feminist revisionism, her drama is now treated as a valuable source of knowledge on the values and norms of her class, gender, and, more generally, English society in the seventeenth century. Cavendish’s two-partite play Bell in Campo (1662) is a fantasy on the world where women can fight united not only against misogyny but also against an actual enemy. While the two plays seem to be focused on the valiant Lady Victoria and her female “Noble Heroicks”, Bell in Campo likewise offers an odd subplot featuring two widows and their lives without their beloved husbands. In the secular discourse of the seventeenth century, widowhood has been seen as either liberating – as when the woman became the sole owner of her husband’s estate and goods, or regained her own, and thus more independent – or degrading – when she became the not-so-welcomed burden on her children’s shoulders and pockets. Other studies on widowhood likewise state its symbolic function, showing women as the bearers of memory, predominantly of the husband and his virtues, and often attending to the spouse’s site of memory. While discussing the cultural history of properly performed widowhood, seen as the final (st)age of a woman’s life, and taking into account Cavendish’s remarkable biography, the present paper offers a close study of her propositions for appropriate widowhood and its positioning in contrast to other states of womankind as presented in Bell in Campo.1 It will likewise take into account the more or less sublimated evidence for gerontophobia, particularly in relation to women, as shown in Cavendish’s play and seventeenth-century culture.

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Traub, Valerie. „Correction to TraubDaughters, Wives, and Widows: Writings by Men about Women and Marriage in England, 1500-1640. Joan Larsen KleinFashioning Femininity and English Renaissance Drama. Karen NewmanStaging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy. Barbara Freedman“. Signs: Journal of Women in Culture and Society 20, Nr. 2 (Januar 1995): 428–31. http://dx.doi.org/10.1086/494982.

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Mercer-Taylor, Peter. „Listening for the “Still Small Voice” of Mendelssohn’s Domestic Elijah“. Journal of Musicology 32, Nr. 1 (01.01.2015): 40–77. http://dx.doi.org/10.1525/jm.2015.32.1.40.

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The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity of his youth and adulthood. This article explores a fourth, essentially untested, interpretive approach: the possibility that Mendelssohn crafts from Elijah’s story a heartfelt affirmation of domesticity, an expression of his growing fascination with retiring to a quiet existence in the bosom of his family. The argument unfolds in three phases. In the first, the focus is on that climactic passage in Elijah’s Second Part in which God is revealed to the prophet in the “still small voice.” The turn from divine absence to divine presence is articulated through two clear and powerful recollections of music that Elijah had sung in the oratorio’s First Part, a move that has the potential to reconfigure our evaluation of his role in the public and private spheres in those earlier passages. The second phase turns to Elijah’s own brief sojourn into the domestic realm, the widow’s scene, paying particular attention to the motivations that may have underlain the substantial revisions to the scene that took place between the Birmingham premiere and the London premiere the following year. The final phase explores the possibility that the widow and her son, the “surrogate family” in the oratorio, do not disappear after the widow’s scene, but linger on as “para-characters” with crucial roles in the unfolding drama.

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Rana, Yasmine Beverly. „Blackened Windows: from The War Zone Is My Bed“. TDR/The Drama Review 52, Nr. 1 (März 2008): 160–66. http://dx.doi.org/10.1162/dram.2008.52.1.160.

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Behind a blackened window in Kabul, Laila, a widow, seeks solace in sex while earning her living as a prostitute. She and her lover Ash find refuge from the violence, loss, and fear that is their daily lives under the Taliban.

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Dissertationen zum Thema "Widows – Drama"

Teerlink, Amanda. „The Wicked Widow: Reading Jane Austen<&trade>s Lady Susan as a Restoration Rake“. BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7100.

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Of all of Austen<&trade>s works, Lady Susan tends to stand alone in style and character development. The titular character of the novella in particular presents a literary conundrum for critics and readers of Austen. In an attempt to understand the character and why Austen wrote her, Lady Susan has been considered as a œmerry widow (Lane), a Machiavellian power figure (Mulvihill), and an indication of Austen<&trade>s familiarity with gossip and adultery (Russell). Despite these varied and colorful readings, critics have failed to fully resolve the differences between Lady Susan and Austen<&trade>s more beloved, maidenly heroines such as Elizabeth Bennet and Anne Elliott.This paper delves into one explanation that has hitherto been overlooked”Lady Susan<&trade>s relationship to the Restoration rake character trope. In light of Lady Susan<&trade>s philandering, independent, and mercenary ways, as well as her likeable yet reprehensible personality, the connection to the Restoration rake is readily apparent. Reading Lady Susan as a rake better informs critical understanding of this character and sheds new light on Jane Austen<&trade>s own perspectives on gender, while also forming a dialectic for critics and audiences for their own perspectives on gender, gender roles, and acceptable behavior. To accomplish this task, this paper explores Austen<&trade>s own early experiences with theatre and her predilection for theatrical allusions, the rake character<&trade>s genealogy and influence on literature, and a close reading of the novella in context of Restoration comedies.

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Bücher zum Thema "Widows – Drama"

Tolstunov, Igorʹ, Vera Storozheva und Sabina Eremeeva. Puteshestvie s domashnimi zhivotnymi. Moskva: Studii︠a︡ "Slon", 2007.

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Shaw, Bernard. The Inca of Perusalem. Studio City, CA: Players Press, 2002.

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Horovitz, Israel. The widow's blind date. Garden City, N.Y: Fireside Theatre, 1989.

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Betts, Torben. The error of their ways. London: Oberon, 2007.

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Horovitz, Israel. The widow's blind date: A play. Garden City, NY: Fireside Theatre, 1989.

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Chaplin, Charlie. Monsieur Verdoux. New York, NY: Criterion Collection, 2013.

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Jane, Holding, Hrsg. Oldest living Confederate widow: Her confession. New York: Samuel French, 2008.

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Laurents, Arthur. Come back, come back, wherever you are. New York: Samuel French, 2010.

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Kamata, Hajime, und Ko Matsuo. Natsuyuki rendezvous: Complete collection. [S.l.]: Sentai Filmworks, 2013.

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Hibbert, Guy. Tilting ground. London: Samuel French, 1997.

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Buchteile zum Thema "Widows – Drama"

Winarnita, Monika Swasti, Petra Mahy und Nicholas Herriman. „Fate, Desire, and Shame: Janda in Indonesian Pop Culture“. In Gender, Islam and Sexuality in Contemporary Indonesia, 125–43. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5659-3_7.

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AbstractResearch on images of femininityin Indonesia has largely focused on either the image of femininity produced by the state or, relatively, high-brow cultural forms of femininity. However, popular culture produces images of females that often stand in contrast to such symbolism. This article contends that the janda, the divorcee or widow, one of the foremost images of femininity in popular music, drama, and literature, has been, for the most part, overlooked. Seen as sexually available and lascivious, the janda represents the “fallen woman”; an object of both fascination and pity. This article analyses the janda image as one of the foremost symbols in Indonesian popular culture. It is argued that the janda image must be analysed in relation to maiden and mother images. Furthermore, culturally specific ideas of desire, fate, and shame contextualise the janda image. As will become apparent, Indonesian popular culture is patriarchal, and a heterosexual male perspective frames much of the symbolism. This means that actual women live with the very real stigma of being a divorcee or a widowin Indonesia. In this study, we focus on the janda image and include discussion of how its representation has evolved to include a cosmopolitan ideal.

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Kolb, Laura. „Wench, Witch, Wife, Widow: The Power of Address Terms in The Witch of Edmonton“. In Intersectionalities of Class in Early Modern English Drama, 165–81. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-35564-6_10.

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„Chapter 5 “Shall I not be master of my own house?”: Widows as Powerful Mistresses in Caroline Drama“. In Performing Widowhood on the Early Modern English Stage, 193–237. De Gruyter, 2023. http://dx.doi.org/10.1515/9781501513893-010.

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Middleton, Thomas, und British Drama 1533–1642: A Catalogue. „1787: The Widow“. In British Drama 1533–1642: A Catalogue, Vol. 6: 1609–1616, herausgegeben von Martin Wiggins und Catherine Richardson. Oxford University Press, 2015. http://dx.doi.org/10.1093/oseo/instance.wiggins1787.

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British Drama 1533–1642: A Catalogue. „1341: A Widow's Charm“. In British Drama 1533–1642: A Catalogue, Vol. 4: 1598–1602, herausgegeben von Martin Wiggins und Catherine Richardson. Oxford University Press, 2014. http://dx.doi.org/10.1093/oseo/instance.wiggins1341.

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Chapman, George, und British Drama 1533–1642: A Catalogue. „1456: The Widow's Tears“. In British Drama 1533–1642: A Catalogue, Vol. 5: 1603–1608, herausgegeben von Martin Wiggins und Catherine Richardson. Oxford University Press, 2015. http://dx.doi.org/10.1093/oseo/instance.wiggins1456.

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Sampson, William, und British Drama 1533–1642: A Catalogue. „2157: The Widow's Prize“. In British Drama 1533–1642: A Catalogue, Vol. 8: 1624–1631, herausgegeben von Martin Wiggins und Catherine Richardson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oseo/instance.wiggins2157.

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„Petronian Spectacles: The Widow of Ephesus Generically Revisited“. In Roman Drama and its Contexts, 505–32. De Gruyter, 2016. http://dx.doi.org/10.1515/9783110456509-031.

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Jay, Elisabeth. „A Scottish Widowx ߣ s Religious Speculations“. In Mrs Oliphant: Fiction to Herself’, 139–91. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198128755.003.0006.

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Abstract Such was the obituaristߣs verdict in The British Weekly: A Journal of Social and Christian Progress More than a suggestion of a desire to pay off old scores against a woman who could ‘say more easily than most people the things that sting and blister’ pervades this article, and nowhere more clearly than in this imputation of ignorant prejudice to a woman who had five religious biographies to her credit, numerous fictional evocations of ecclesiastical dramas, and substantial experience as a reviewer of religious writings.

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Dailey, Alice. „Easter Scenes from an Unholy Tomb: Christian Parody in The Widow’s Tears“. In Marian Moments in Early Modern British Drama, 127–39. Routledge, 2016. http://dx.doi.org/10.4324/9781315593890-8.

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Konferenzberichte zum Thema "Widows – Drama"

Cha, Sang-uhn, und Hongil Yoon. „High Speed, Minimal Area, and Low Power SEC Code for DRAMs with Large I/O Data Widths“. In 2007 IEEE International Symposium on Circuits and Systems. IEEE, 2007. http://dx.doi.org/10.1109/iscas.2007.377984.

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Moreira, Francis Birck, und Marco Antônio Zanata Alves. „Memory Bandwidth: What can we improve?“ In Escola Regional de Alto Desempenho da Região Sul. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/eradrs.2022.19185.

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As the gap between processor performance and memory latency widens, the computer architecture research area is always out for new solutions for efficient memory access. In this paper, we analyze the maximum achievable gain by simulating an ideal DRAM memory that always services requests as row buffer hits, thus minimizing memory access latency and queuing. We reproduced the state-of-the-art ConGen2 technique from Natale et al. to measure how much improvement is still available. ConGen2 minimizes row buffer misses according to a min-k-cut solution based on all memory accesses of a target application. We observed that ConGen2 improves memory usage by 2.30% on average, while the ideal memory gains 36.88% on average for the chosen benchmarks. This gap leaves a wide margin of benefits to be gained.

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Ikegawa, Masato. „Flow and Heat Transfer Problems in the Semiconductor Manufacturing Processes“. In ASME 1996 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/imece1996-1044.

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Abstract The integrated circuit (IC) market has been growing rapidly recently with factory sales increasing by an average 20% per year. By the year 2000, it may surpass the automobile, chemical, and steel industries in sales volume. The number of components per IC chips, developed in 1959, grow exponentially year by year. Now ultra large scale integration (ULSI) devices in which components exceed 1,000,000 are produced. Dynamic random access memory (DRAM) has increased the integration by four times in three years. The 4 M (megabit)DRAM and 16 MDRAM are produced in mass production, 64 MDRAM is shipped as samplers, and 256 MDRAM is developed in the laboratory. As chips become more integrated, their line widths (device feature size) are being reduced to submicron dimensions to decrease the cost per bit. Mechanical engineers began to participate in the development of ICs and manufacturing equipment after around 1980 to optimize the processes and the reactors. A main theme in the IC industry is the simultaneous fabrication of hundreds of ICs (or chips) on a wafer of silicon, which is typically 100–200 mm in diameter and 1-mm thick. The wafer size increases as the device feature size decreases. Many individual process steps, which are precisely controlled and carefully sequenced, are required for the fabrication. ICs are built-up from layers of film conducting, insulating, and semiconducting films. Each film has a pattern etched into it so that an exactly registered array of these layers forms individual components such as transistors, resistors, diodes, and capacitors. These components are interconnected by conducting films to yield circuits. Uniformity of these films in device feature size and wafer size is required for the high throughput of chips. Even 1-μm particulates decrease the yield of chips if they adhere to wafers during manufacturing. Many efforts have been made to eliminate the particulate contamination in the manufacturing processes. Unit operations in semiconductor manufacturing are Bulk crystal growth by the Czochralski method, Chemical reactions with surfaces (Etching, Oxidation), Thin-film formation (Sputtering, CVD, Spin coating), Lithography, Semiconductor doping (Diffusion, Ion implantation), Other new techniques. Many problems of flow and heat transfer are found in these processes. These problems are found in two groups of wafer size (a few hundred mm order) and device feature size (μm order). The former is the flow in the manufacturing equipment and the latter is the flow around the submicron trench or holes on the wafers. The control of flow velocity, concentration, and temperature distribution was designed and executed precisely to keep the uniformity of the layers in both sizes. The flows in the CVD reactors show complex phenomena including chemical reactions with the particle contamination. Plasma is often used in the CAD during the lower temperature process and in etching for the smaller scale process. New high-density-plasma reactors have been developed and competed in the market. With the trend towards finer line structures on chips, deposition profiles in small trenches suffer from poor step-coverage. Since poor step-coverage affects production yield and device reliability, several counter-measures have been taken to improve it. The flow and deposition in low-pressure apparatus and around submicron trenches are analyzed as rarefied gas flow using the DSMC method.

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