Journal articles on the topic '21st century drama texts'
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1
Veselovska, Hanna. "The 21st-Century Drama and the New Reality of Social Networks." Amfiteater 9, no. 2021-2 (June 30, 2022): 234–49. http://dx.doi.org/10.51937/amfiteater-2022-1/234-249.
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The article examines the impact of social networks on modern theatre by looking at the case of drama transformation. Discussed are the peculiarities of reportage plays versus traditional plays, emphasising the various forms of so-called Facebook plays. The author shows that while Facebook plays have become a major feature of theatrical life in the 21st century, their proliferation has also revealed social networks’ negative effects on social communication. This has found its apt reflection in dramatic texts. The study concludes with an argument that although the impact of social networks on drama has of late tended to wane, the changes that have occurred in the structure of texts over the last decade or so appear to be largely irreversible.
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Toporišič, Tomaž. "How Can We Interpret the 21st-Century (No Longer) Dramatic Texts and Theatre in Art and Theory?" Amfiteater 10, no. 2 (December 20, 2022): 18–49. http://dx.doi.org/10.51937/amfiteater-2022-2/18-49.
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The essay analyses the corpora of the dramatic or non-dramatic texts of contemporary authors (Simona Semenič, Milena Marković, Tim Crouch, Oliver Frljić, Katarina Morano and Žiga Divjak, Anja Hilling, Wajdi Mouawad, Dino Pešut and She She Pop) as a border area belonging to both the field of literature and theatre. While detecting the specifics of the interpretation of drama and theatre, the author uses eclectic tools offered by literary and performing arts studies to analyse the corpora of contemporary drama or no longer drama and performing practices. Focusing on a series of contemporary playwrights and theatre directors, he seeks answers to the question of how we can interpret the changes in drama and theatre. How did the specific return to the theatre of words, as defined by the French theorist of contemporary drama Élisabeth Angel-Perez, take place, and to which extent are today’s theatre and drama still post-dramatic but nevertheless establish a new return to the dramatic and dramatised? How do these “experiments belonging to the so-called ‘post-dramatic theatre’ which is also a (post-)deconstructionist theatre, eventually, end up redramatising whatever it was they strove to un/de-dramatize” (Angel-Perez)? Thus, paradoxically, “‘no-longer-dramatic’ texts put forward a new dramaturgical form that subverts the dramatic representation of the world as a fictive whole and accommodates the ‘unsurveyable present’ (Lehmann) of the mediatised-globalised world”
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Portmann, Alexandra. "Shakespeare’s new contemporariness, or Hamlet in the Yugoslav Drama Theatre of the 21st century." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (March 9, 2018): 172–84. http://dx.doi.org/10.1177/0184767818763427.
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This article investigates how Shakespeare’s Hamlet has become a platform for negotiating memory politics in Serbia in the new millennium. Focusing on two productions in Belgrade’s Yugoslav Drama Theatre since 2005 (Dušan Jovanović, 2005 and Aleksandar Popovski, 2016) and one adaptation, Cirkus istorija (Sonja Vukičević, 2006), the specific conditions for each of the productions’ actualization are investigated. Through a discussion of these Hamlet productions, the analysis reveals the ways in which the repeated staging of classical dramatic texts, with each production embedded within a specific staging tradition, becomes a renewed source of inspiration for political theatre.
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MONISOVA, I. V., M. S. RUDENKO, L. ZHANG, and J. LIU. "ROUND TABLE “FROM TEXT TO GAME...”: TALK ABOUT TODAY AND ETERNAL. REPORTAGE." Lomonosov Journal of Philology, no. 2, 2024 (June 16, 2024): 247–54. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-02-19.
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The constant attention to dramaturgy at the Department of History of Contemporary Russian Literature and Modern Literary Process is associated with the scholarly heritage of its former head, Doctor of Philology, Professor B.S. Bugrov (1936-2002). He brought the plays of Russian symbolists back from oblivion, published the plays by L. Andreev, explored modern drama, and directed his students along this path. The round table, reviewed in this article, brought together colleagues whose academic interests were in one way or another connected to the theater and drama. The problems of theatrical and dramatic language and the synthesis of arts; innovations in drama and theater of the 20th and 21st centuries; representative texts by contemporary playwrights; adaptations of plays for theater and cinema, as well as non-dramatic material for the stage; reception of Russian drama outside Russia; contribution of B.S. Bugrov to the study of dramaturgy of the 20th century were discussed.
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Bilic, Laura. "The Dialogue of Arts in Romanian Contemporary Drama." Theatrical Colloquia 7, no. 1 (June 1, 2017): 207–13. http://dx.doi.org/10.1515/tco-2017-0003.
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Abstract The beginning of the 21st century is characterized in Romania by the emerging of a new generation of playwrights. Numerous actors or people coming “off the stage” begin to write drama, so that the playwrights become authors of the texts played on the stage. Thus, the playwrights join a trend that is common in Europe, being part of a category named by Bruno Tackels “les écrivains de plateau” - the writers of the stage. Nowadays, we witness a change in the way the young artists view drama - they do not only want to change the way of writing and performing drama, but they also want to change the world they live in. The contemporary performance has gradually lost its specificity by blending itself with visual arts, dance, music, technology, becoming a project. In our modern society the artists do not look for something meant to last forever, so the work of art becomes a continuous work in progress. Therefore, a bridge is being shattered - the bridge between nowadays and posterity.
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Costello, Adrienne. "Multimodality in an Urban, Eighth-Grade Classroom." Voices from the Middle 19, no. 4 (May 1, 2012): 50–56. http://dx.doi.org/10.58680/vm201219354.
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Young adolescents are immersed in 21st century literacies in their daily lives, and they bring into schools a level of appreciation and expertise that often goes untapped. This article presents an eighth-grade English classroom’s experience with digital video composing and informal classroom drama as multimodal literacy practices. Students in this urban setting developed deeper understandings of literary issues such as characterization and theme while working through dramatic activity and movie-making processes. Responses to literature became deeper and more nuanced as students brought elements of the text to life through dramatic video. New literacies can be infused into formal study of more traditional aspects of English language arts, and have the potential to position students as actors, experts, and active producers of multimodal texts.
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Shunikov, Vladimir L. "DISCURSIVE AND GENRE EXPERIMENTS IN THE CONTEMPORARY RUSSIAN DRAMA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 152–60. http://dx.doi.org/10.28995/2686-7249-2020-9-152-160.
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The article considers an influence of the genre traditions and discurses on Russian drama of the late 20th and early 21st century. The influence of documentary theater and the illusion of non-fictional speech created in G. Sinkina, A. Rodinov, Yu. Klavdiev, L. Mulmenko drama is noted. Pedaling the authenticity of character’s word is manifested by the verbatim technique – and at the same time returns the drama to the strivings of the early Soviet theater. The article also considers a correlation of the verbal and written discourses, their genre diversity as well as the ratio of the monologue – and dialogic potential of the texts written by N. Kolyada, A. Slapovsky, V. Levanov, V. Zueva, Ya. Pulinovich, E. Grishkovets, I. Vyrypaev, E. Isaeva, N. Vorozhbit, S. Reshetnikov. It takes into consideration the genre forms mixing what determines the structure of the play and its perception by reader-spectator. In particular, the research focuses on the literary and stage manifestations of the diptych – play in works of A. Zenzinov and V. Zabaluev, S. Zlotnikov, D. Gumenniy . The author of the article refers to the interaction of drama with other arts, both the visual (O. Mukhina’s plays) and sounding (I. Vyrypayev “Oxygen”), as well as modern media formats that determine the genre nature of the latest works for the stage (plays by A. Vartanov, R. Malikov). Special attention is paid to “network drama”, which qualitatively changes the structural principles for works in that kind of literature and motivates to rethink the categories of “drama world”, “character”, “conflict”, “plot”.
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Novak, Sonja, Stephanie Jug, and Iris Spajić. "BIG CITIES AS TOPOI OF MIGRATION CRISES IN GERMAN LITERATURE AT THE BEGINNING OF THE 21ST CENTURY." Folia linguistica et litteraria XIII, no. 44 (January 31, 2023): 323–50. http://dx.doi.org/10.31902/fll.44.2023.18.
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The following paper offers a transgeneric analysis of three contemporary German literary texts which shows how the plot setting - which is in all these cases an urban environment, i.e. a city – can be described as a topos to address ongoing migration crises. These urban places of action and the depicted migration crises create a state of paradox and irony: big cities attract the population and represent a place that is desirable to live in, yet they seem to marginalize and ostracize the very groups that migrate towards them. The research presented in this paper stems from an ongoing research project that deals with the phenomenon of crisis in contemporary English, German and Croatian literature, with an emphasis on systems in crisis, where the systems are defined from a sociological perspective as the family, the local community, the state, the region, and so on. The research was conducted within the installation research project “UIP-2020-02-3695 Analysis of Systems in Crisis and of New Consciousness in 21st Century Literature” (2021.-2026) funded by the Croatian Science Fund. The aim of the project is to prove the hypothesis that what we have at hand is a predominantly subversive attitude on the part of literature towards the phenomenon of crisis and towards systems in crisis. The research done in the first year of the project (2021) shows that of the 126 German-language prose and drama texts included in the corpus, focusing on texts published from 2000 to 2021, 29 deal explicitly with crises in the local community or in the city and 23 with migration crises (cf. Novak et al. 2021, p. 3). The literary works selected for analysis, which offer urban areas as the setting of the narrative, show how, at the expense of the protagonists’/characters’ isolated experience, a shared, global view is illustrated that might indicate literary trends in dealing with contemporary problems in society, such as the attitude towards the ‘other’, the marginalized, or the ‘different’. Paradoxically, at the same time, through the way they subtly address these problematic attitudes, the literary texts become topoi that allow space for criticism. The novel and two plays that are the focus of this research have all been published in German since the year 2000 and are part of the project’s corpus. They have been selected as representative examples of how the urban, civilized, dominant community acts and reacts when it comes into contact with the ‘other’. They encompass both the individual and the collective, tragedy and comedy, but also social satire which addresses many problems of the world we consider to be structured and ordered, revealing that it is in reality a place of complex dynamics of centricity versus provinciality and inclusion versus exclusion. The paper takes a close look at Robert Menasse’s novel Die Hauptstadt (2017), Philipp Löhle’s play Wir sind keine Barbaren! (2015) and Lutz Hübner and Sarah Nemitz’s play Phantom (Ein Spiel) (2015). The transgeneric analysis of the selected literary texts shows how the migration crises in the big cities are not explicitly addressed, but rather pushed to the sides and margins – both literally and figuratively - and overlooked, and thus made even deeper within the system of the narrative (that is, in the narrative of both the prose as well as the drama text). In all three examples, the “we” is often emphasized as dominant, while “the others” are marginalized, both geographically and symbolically, due to this dominance. The migrants/refugees appear and remain on the geographical periphery, while also not even being recognized, and listened to, or else they become condemned to a life in symbolic parallel worlds. The community in all three examples acts globally in the economic and communication-strategic sense, but limits its self-image and the conception of “we” locally, and in doing so emphasizes the meaningfulness of their own tradition, while diminishing the existence of the others.
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Vysotska, Natalia. "LASTING ECHO OF THE HOLOCAUST: MEDIATED TRAUMA IN LATE 20TH — EARLY 21ST CENTURY AMERICAN FICTION AND DRAMA." CONTEMPORARY LITERARY STUDIES, no. 19 (March 15, 2023): 7–14. http://dx.doi.org/10.32589/2411-3883.19.2022.274000.
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Literature is one of the most effective ways for representing traumatic memory since it accomplishes this task by means of imagery. In American literary studies, the extensive research of the Holocaust literature tended to deploy the prevalent model focusing on the tragic fate of European Jewry through the prism of the victims’ psychology. The survivors of the unspeakable experience are striving to express (or repress) it from the perspective of their new American reality. Based on fiction and drama of the late 20th — early 21st centuries, the paper seeks to present an alternative mode of addressing the Holocaust trauma as second-hand experience of the characters who happen to be not direct victims, but rather «bystanders», nevertheless affected by PTSD. It seems expedient to apply certain premises laid out by the theorists of trauma (C. Caruth, D. La Capra, G. Hartman and others) to writings by Michael Chabon, Paul Auster, and Arthur Miller dealing with mediated («muted») Holocaust experience. This version also has at its core correlation between the factual and the fictional, the role of memory and imagination, temporal, spatial, and psychological distancing from the blood-curdling events. At the same time, special emphasis is laid on symbolic connotations bringing America within the ambit of reflections on the nature of ubiquitous evil. Veering towards traditional forms of narrative, the authors also make use of the potential inherent in fragmented story-telling. The texts highlight the strategies of working through the trauma including proactive initiatives, accepting the Other in oneself, transforming traumatic memory into other forms, such as cohesive narrative and/or fragmentary catalogue.
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Sulaiman, Nahidh Falih. "Theatre of Exorcism: Evoking the Past to Control the Present." JOURNAL OF LANGUAGE STUDIES 3, no. 1 (September 1, 2023): 133–47. http://dx.doi.org/10.25130/jls.3.1.9.
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The paper will investigate the dramatic treatment of conjuring in the past theological and demonological texts of one of the English Renaissance plays. Exorcism is widely discussed and scientifically tackled during the twenty-first century theatrically and cinematically which is seemingly reflecting the out-off-heavenly thorough needs for eternal happiness. The paper is mainly divided into two parts. It starts with an introduction about the terms that are concerned mainly with the theme of the study. The first part is entitled ‘Readings in Exorcism and the Spiritual Challenge of Religion and Science’. It sheds light on various dimensions of exorcism in religion and science and deals with certain Classical Perspectives. The second part is entitled ‘Demonic Possession of Staging Exorcism’. It deals with some selected classical and modern plays that exemplify the significance of exorcism during the middle ages, and the increasing demand for exorcists in most updated dramatic adaptation of the 21st century. The second part illustrates the medical horror drama caused by exorcism set in a catholic hospital of a modern Korean drama Priest (2018) written by Moon Man-Se. This part is also concerned with a modern play which was dramatized in two acts by Tim J. Kelly entitled The Hunchback of Notre Dame(1992) as to be the main focus of the present study..
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Grammatas, Theodore. "Modern Greek Drama and Theatre in the Crisis Period: Mnemonic Flashback of the past as a Defense Mechanism in the Present." European Journal of Social Sciences 2, no. 1 (March 30, 2019): 57. http://dx.doi.org/10.26417/ejss-2019.v2i1-56.
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:At the beginning of the 21st Century, Modern Greek Dramaturgy had already entered the Postmodernism phase, closely adhering to the trends of international theatre. The economic and cultural crisis that set in after the first decade brought an end to almost every innovative attempt. Obsolete types and forms, subjects and stories/plots, are recycled and updated. The Past reappears in exactly the same way it used to be depicted in 20th or even 19th century literary texts and successful comedies of the Greek cinema of the 50’s-60’s are almost completely prevailing. It is not, however, the first time this phenomenon is observed in the Modern Greek Theatre. A similar one appears in the Interwar period (1922-1940), when, for political, social and economic reasons reality becomes very negative for Greek playwrights. The recent and distant Past appears to have a redemptive effect, thus offering an alibi and a way-out deprived by the Present.This is the subject of our announcement, based on the notions and the function of theatrical memory and the multiple roles by which History is joining Theatre.
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Kowalska, Martyna. "Remake jako forma dialogu z klasyką (inspiracje „Szynelem” Mikołaja Gogola w wybranej literaturze rosyjskiej XX i XXI w.)." Politeja 16, no. 2(59) (December 31, 2019): 327–51. http://dx.doi.org/10.12797/politeja.16.2019.59.19.
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Remake as a Form of the Dialogue with the Classics (Nikolai Gogol’s ‘The Overcoat' as an Inspiration in Russian Literature in the End of the 20th Century and the Beginning of the 21st Century)
The article is devoted to the very recent phenomenon in contemporary Russian literature – to a remake. The subject of this research is the literary ‘dialogue’ between classical short story (The Overcoat by Nikolay Gogol) and Russian literary works in the end of the 20th century and the beginning of the 21st century. In scope, there is a micro-novel of Vladimir Voinovich The Fur Hat, then Dmitry Gorchev’s novel The Phone and Vladimir Shinkariev’s work The Flat, as well as Bashmachkin – a drama written by Oleg Bogaev. The interest that contemporary authors demonstrate in Gogol’s work is a result of the problems described which still appear to be current. This is also an attempt to make Russian classics contemporary and reinterpret the 20th century novel simultaneously. The methods of bringing ‘Gogol’s text’ up to date in the above-mentioned works present the wide range of possibilities that remake gives. Voinovich put social and political principles of Soviet state in the first place. The Table of Ranks together with its submission of an individual towards the state has been deeply analyzed. In Gorchev’s and Shinkariev’s stories contemporary Bashmachkins – ‘little men’, eager to fulfill their dreams about better life – are presented. What is more, those texts show a very interesting picture of Russian reality in the beginning of 21st century ruled by lawlessness, corruption and money. The most original approach to Gogol’s work was presented by Bogaev in Bashmachkin’s story continuation. However, the main character is the overcoat who is administering justice on behalf of a dying hero. The remake-sequel is not only a modernized version of Gogol’s plot but also a new text growing up from a postmodern game. A proposed analysis of the above-mentioned Russian remakes presents many different ways a classic literature text can be modernized thanks to this kind of adaptation. However, on the ground of Russian literature, a remake is above all a pursuit of a dialogue with the classics, an attempt to modernize the problematic aspects and emphasize timeless contents.
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Fuanda, Nofiyanti. "REFORMULATING DRACULA IN THE EARLY 21ST CENTURY: GENRE ANALYSIS OF 24 VAMPIRE FILMS." Rubikon : Journal of Transnational American Studies 3, no. 2 (July 18, 2019): 46. http://dx.doi.org/10.22146/rubikon.v3i2.34269.
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The vampire is a phenomenon in western literature and culture. As many literary works featuring vampire are produced every year and continue to interest of the audiences, the creature becomes even embedded in the heart of not only western people, but also most people in the world. Currently, the researches on the creature either as a part of the myth or a character in literary works is so booming. They conclude that there is transformation of vampire both in myth and literary work. The research on literary works mostly generalizes vampire and Dracula as similar terms referring to blood sucker in general. In fact, those two terms actually refer to different signifieds. Therefore, this research aims to discuss specifically the development of literary works, especially films featuring the Dracula character since Stoker’s story is still adapted in the current era. The discussion focuses on the conventions and inventions of Dracula films in the early twenty first century and how those new formulas are related to the social background. This research is qualitative research and data are collected from the library. In addition, the basic theory used is genre analysis which situates texts within textual and social contexts. In the field of American Studies, such analysis is relevant to McDowell’s theory of “past, present and future” which supports interdisciplinary studies of time development.As the finding of the research on twenty four films produced during 2000 to 2014 the researcher concludes that most of them mix the elements of some genres. There are eleven pure horror Dracula films, eight horror action, two horror drama, one horror adventure, one horror sci-fi, and one horror romance. Furthermore, the researcher found five formula inventions including: 1. the shifting themes which include the emergence of science and the blurring of sexuality; 2. the variation of the stereotypical characters which includes the turn of the villain into hero and the challenge of women as heroes; 3. the changing motive; 4. the variation of setting, and 5. the replacement of properties. In the further analysis, the development of the formulas is certainly the result of the mixing genres, and also the response to two major issues flourishes in today’s era such as the issue of modernity and rationality and the phenomenon of ‘New Women’ and ‘Now Women.’Keywords: vampire, Dracula, formula, convention, invention
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Kongerslev, Marianne, and Clara Juncker. "Det syge USA." K&K - Kultur og Klasse 49, no. 131 (June 23, 2021): 193–212. http://dx.doi.org/10.7146/kok.v49i131.127675.
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Acknowledging the significance of the COVID-19 pandemic as an exacerbating factor for precarious US communities, this article reads Tony Kushner’s critically acclaimed play Angels in America: A Gay Fantasia on National Themes (1992-95) and Michael Henson’s collection of short stories Maggie Boylan (2015) alongside Susan Sontag (Illness as Metaphor), Jasbir Puar (The Right to Maim) and Lauren Berlant (“Slow Death”). The play and the short story collection represent examples of critiques of a deep-rooted disorder that characterizes the precaritizing American social and political system. From the severely mishandled AIDS crisis in Reagan’s conservative United States to the equally disastrous management of the opioid and meth epidemics in the 21st century, American society and politicians are failing their citizens, a failure reflected in and critiqued by literary texts. Whereas Angels in America is an overtly political drama, in which marginalized people come together to respond to political erasure and violence with imaginative countercultural utopianism, Maggie Boylan traces the gradual decay and corruption of a contemporary American community, functioning as a microcosm of the Unites States as a whole. This society is plagued by several crippling “epidemics” and “crises” that leave bodies broken and communities in tatters. Despite glimmers of hope, Kushner and Henson paint a grim picture of a sickness at the core of American society.
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Zlotnikova, Tatiana S. "Philosophy and the Drama of Life: A Theater Experience of Understanding F.M. Dostoevsky." Observatory of Culture 18, no. 3 (July 22, 2021): 228–39. http://dx.doi.org/10.25281/2072-3156-2021-18-3-228-239.
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The article aims at a multidimensional discussion of the little-explored topic of the dramatic content of the philosophical problems in the works of F.M. Dostoevsky (1821—1881). There is proved that it was this feature of creativity that made the writer, with his philosophy of life and sharp, dramatically effective plot and psychological collisions, the most desirable and very productive author for the Russian theater art.Polyphony, dialogism, combined with the features of the tragic genre, are the basis for numerous theatrical embodiments of novels and novellas by F.M. Dostoevsky. The intensity of the action in his works gave rise to the expressions “novel-drama” or “drama in a novel”, “novel-tragedy”, and in theatrical practice it created the ground for the transformation of moral and philosophical problems into active stage action.The article reveals the context of F.M. Dostoevsky’s works — the time and conditions for the emergence of novels and novellas, the problem field that united and separated him from the works of his predecessors and contemporaries, which is done on the basis of a brief description of several aspects of the philosophical-aesthetic and socio-moral systems. In this context, according to our concept, a special place is occupied by the idea that life in Russia is absurd and ridiculous, and the reflection of the absurd is the most important artistic paradigm.The article proves that the analyzed philosophy of F.M. Dostoevsky’s life received polar genre embodiments in the theater. Thus, the dramatic and melodramatic beginning was characteristic of the performances that had in their center the so-called little man. The article presents an understanding of the most remarkable performances of the second half of the 20th and the beginning of the 21st century: “The Idiot” by G. Tovstonogov, with a new trend of searching for a “positively beautiful” person, which had a significant impact on many theatrical experiences in Russia; “The Petersburg Dreams” by Yu. Zavadsky, as a unique experience for Soviet art of creating a tragic work in full accordance with the aesthetic characteristics of this genre; “And I Will Go, and I Will Go” by V. Fokin, as the last emotional outburst of the young generation of Soviet creators who thought in the moral and psychological parameters of F.M. Dostoevsky’s characters; “The Karamazovs” by K. Bogomolov — a postmodern experience of an absurdist reading of the multifaceted text of the classic.In the works of the writer and their theatrical embodiment, the article notes the signs of a carnival worldview, a combination of grotesque and subtle psychologism in the stage versions of F.M. Dostoevsky (in particular, when working with ironic and satirical texts, “Uncle’s Dream” and especially “The Village of Stepanchikovo”, where sympathy and negative connotations are integrated into a single artistic space). The article correlates the writer’s works existential interpretations by theatrical creators of the 20th and early 21st centuries with socially significant problems, life choices, and dramatic conflicts that characterize Dostoevsky’s philosophy.
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Kurtok, Antonina. "The specific characteristics of the "new Bosnian narrative" as exemplified by Karim Zaimović's short stories book Tajna džema od malina." Humanities and Cultural Studies 2/2021, no. 4 (December 31, 2021): 27–44. http://dx.doi.org/10.5604/01.3001.0015.5568.
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The article is an attempt to describe the specifics of the „new Bosnian narrative” as exemplified by Karim Zaimovic’s short stories collected in the book Tajna džema od malina. The text synthetically presents the new generation of prose writers clearly referring to the heritage of the so-called „narrative Bosnia” (J. Kršić). The generation of writers contemporary to Zaimovic, which dominated the literary scene in Bosnia and Herzegovina in the last decade of the 20th century and at the beginning of the 21st century, was united by a creative motivation generated by common experiences, which was a reaction to the tragedy of the homeland war. The article briefly characterizes the „new narrative Bosnia”, highlighting the great tradition of narrative (pripovijetka) in local literature. Narrative/Short story is considered to be the most important and valued genre, which in its meaning goes far beyond purely literary boundaries – it has played and still plays an important role in the cultural, social, political and ideological context. In the text, it is shown that Zaimović’s stories, compared with (anti)war writing, are distinguished by: the way of constructing scenes that make up the story adapted from comic art, the presence of fantastic elements known from the work of „Borges writers”, as well as a characteristic, humorous style –where the author deals with the absurdity of war by the use of grotesque and satire, and describes the Sarajevo apocalypse using numerous metaphors and allegories. Even though, Zaimović’s texts cannot be treated as a model or the most representative example of “the new Bosnian narrative“, their unconventional way of presentation of the main theme as well as structural and compositional innovation have earned them an iconic status. The circumstances of the stories, and above all the fate of the young writer, made him a tragic symbol of the drama of war in Bosnia and Herzegovina.
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Zaks, Lev A. "Macroparadigms of the Artistic Consciousness as a Basis of “Great Border” in Present-day Art." Koinon 1, no. 1-2 (2020): 216–29. http://dx.doi.org/10.15826/koinon.2020.01.1.2.011.
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The article discusses the problem of “great border” between the newest art of the latter part of the 20th century and the early 21st century and traditional art as it has been existed throughout millennia. A zone of major differences between these two types of art reflected in radically new features of language, richness and perception of the latest art, in emergence of new forms of artwork (art-objects, installations, performances, digital art, contemporary dance, post-drama theater) is expressed. At the same time the illustrative evolution of the very traditional art of today which brings it and the latest art together is emphasized. The article proposes a hypothesis of a central foundation-reason for transformative changes in art. The foundation of any artistic activity and artistic creation rests on a certain type of artistic attitude-towards-the world. Through alterations it has maintained the features of its basic paradigm unchanged. The author defines its essence as nature-centeredness. The radical evolution of modern civilization overshadows nature, places culture at the heart of people existence and results in the birth of a culture-centered paradigm of artistic consciousness. The article outlines its general characteristics defining the radical novelty of the present-day art. The key feature of such art is dominance in culture texts and some of its phenomena as a specific distinct and intrinsically valuable reality and a quest for the representation and internalization of its own diverse features of culture per se starting with its manmade (“artificial”), semiotic, activity-based, creative, communication, particular informative, tradition-driven nature and many others. Culture-centered art walks away from representing routine life events, telling “true stories”, reconstructing psychology and psychological relationships of people in every detail. Instead, it is turning towards accentuation and typology of ways and people life’ products, their cataloguing, towards analysis of culture memory, language and text structures, towards problemotization of the relationship between the cultural and the natural. Insufficient awareness of culture-centeredness expressed by theoreticians and practitioners of the latest art alongside with experiences of such awareness is mentioned.
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Christian Nnaji, Ikechukwu, and Chike Benedict Okoye. "Women, Marriage and Betrayal of Trust in Selected Nigerian Dramas." International Journal of Social Sciences and Humanities Invention 11, no. 6 (June 17, 2024): 8201–7. http://dx.doi.org/10.18535/ijsshi/v11i06.05.
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The paper explores ‘Women, Marriage, and Betrayal of Trust in Selected texts’ namely Wole Soyinka’s The Beatification of Area Boy, Femi Osofisan’s The Midnight Blackout and Toni Duruaku’s Cash Price’. It also explores the contemporary problems besieging women and their spouses. This provides a discursive analysis of dangers of betrayal of trust by both partners which also destroy the marital bliss of democratic marriage institution in Nigeria. The research methodology leans on internet, books, journals on relevant scholars and literary authors relating to similar issues raised by the playwrights to support the paper. It is the works of the same authorities on various topics related to the concerns of these four playwrights that shall be used to strengthen my observations and findings in this paper. Psychological and historical criticisms are deployed to unravel the issues raised in these creative works as reflected in the society. The findings lean on social greed, impatience, lust for mundane things also the relevance of informing the society on the plethora of stigma of divorces looming visibly on infidelity or abnormality. These necessitate prospects and challenges of marriage institution in 21st century and the need of reforming these anomalous cultural trends problematical in Nigerian society.
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Buluma, Alfred, Rovincer Najjuma, and Betty Ezati. "Adopting the Use of Low-Cost Assessment Strategies in Resource-Constrained Higher Education Institutions." INTERDISCIPLINARY JOURNAL OF EDUCATION (IJE) 3, no. 2 (December 25, 2020): 94–111. http://dx.doi.org/10.53449/ije.v3i2.130.
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Assessment is an integral aspect of teaching and learning in an academic institution. It provides the primary information based on to make several decisions by the different stakeholders. The vital nature of this information makes assessment an expensive venture. Educational institutions incur a lot of costs in administration of these assessments and yet they are financially struggling to meet their budgets. However, low-cost strategies are available to bring about authentic assessment of learners. Consequently, this article presents findings about adoption of low-cost assessment strategies in financially constrained higher education institutions. Specifically, the study was conducted in teacher education pedagogy at one of the public universities in Uganda to establish the adopted low-cost assessment strategies. A qualitative research approach based on a descriptive study design was used to investigate this study. Data was collected using observation, interview and documentary review methods. Study findings established use of presentations, hands-on exercises, peer assessment, tests, drama and take-home assignments as the low-cost assessment strategies adopted by individual lecturers in higher education institutions in Uganda. It was concluded that the adopted low-cost assessment strategies in resource-constrained institutions have the potential to nurture 21st century citizens. And therefore, a recommendation for university-wide adoption of low-cost assessment strategies was suggested to management of higher education institutions in resource-constrained countries.
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Rosenthal, Cindy Simon, Lynsey Morris, and Jamie Martinez. "Who’s on First and What’s on Second?: Assessing Interest Group Strategies on Title IX." Women in Sport and Physical Activity Journal 13, no. 2 (October 2004): 65–86. http://dx.doi.org/10.1123/wspaj.13.2.65.
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The 30th anniversary of the landmark legislation known as Title IX witnessed a year-long public policy drama over whether the law should be amended in some fashion. The saga reveals much about the political strategies of interest groups engaged in gender policymaking in the 21st century and tests conventional wisdom about policy windows (Kingdon, 1994) and agenda access (Cobb and Ross, 1997). In June 2002, U.S. Secretary of Education Rod Paige appointed a blue ribbon commission to examine ways of strengthening enforcement and expanding opportunities for all college athletes under Title IX. Over the next 12 months, the commission held public hearings and forwarded numerous recommendations for change to the Secretary, but subsequently the Department of Education elected to take no action.As David Rochefort and Roger Cobb point out, “If policymaking is a struggle over alternative realities, then language is the medium that reflects, advances, and interprets these alternatives” (1994, p. 9). This case explores the overarching strategic goals, membership mobilization efforts, and media strategies of “initiators” and “opponents” (Cobb & Ross, 1994). We juxtapose these strategies against the unfolding media coverage (an analysis of 297 major newspaper stories in 13 major print outlets) and testimony by 225 individuals before the commission.While revealing the dynamics of problem, policy and political streams (Kingdon, 1994) and strategies of agenda denial (Cobb & Ross, 1994), the case also exposes important paradoxes that may be explained by gender.
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Wang, Duangui. "“The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 53–70. http://dx.doi.org/10.34064/khnum1-52.04.
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Formulation of the problem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). Among its criteria there are reliance on the orchestral accompaniment, the timbre variation of each song of the cycle, the poetry dictated by the presence of the image of the Poet, the symbolization of the poetic and intonation language, the cultural chronotope uniting the Time of History and its inclusion into the culture of the 21st century. The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle. Analysis of the recent publications on the topic. In the second half of the 20th century, a new compositional approach to organizing vocal songs into a whole, poemness, appeared. In the articles by A. Belonenko (about “Petersburg” by G. Sviridov) and T. Zharkikh (about “Poemes pour Mi” by O. Messiaen), the research emphasis is placed on other problems of the organization of the vocal whole. For the first time, in the conditions of the poly-timbre vocal and orchestral synthesis and the national picture of the world poemness becomes the subject of a special interest of the singer-researcher. Research methods: the structural-functional analysis concerns the components of the composer’s text (the vocal melody and textural and timbre thematism of the orchestral part); the semantic one – reveals the symbolism of poetic texts; the genre analysis – aims to identify the individual interpretation of typical models of vocal music. The presentation of the main material. The poem principle became the embodiment of the author’s desire to unite several vocal miniatures into a single musical universe based on the common concept – the image of the Poet. The philosophical and religious feelings and thoughts contained in the texts chosen by the composer reflect not only his worldview, but also the national mentality and psychology of the world view of the “Chinese world view” (the chronotope of History). This rare quality of poetry – to unite the personality (I) and society (We) into a single “national image of the world” – is the essence of the symbolism of the ancient Chinese poetry of the Tang era. The desire to individualize the timbre composition in each of the parts of the cycle is a characteristic feature of many vocal and instrumental compositions of the 20th century. However, in Zhao Jiping’s work, the search for diversity acts simultaneously with the desire to preserve the timbre constants. As such, with this composer this role is represented by a string and bow group, as the carrier of the song beginning, which performs the function of the instrumental “nimbus” (more rarely, of the dialogue-counterpoint) in relation to the singer. In contrast to Western composers, Zhao Jiping does not seek to use “pure” timbres: vocals and xiao can be duplicated with the wind and plucked strings. The composer does not look for contrasting timbres in search of the associative community: on the contrary, he creates single-timbre groups (pipa + guzheng + harp, triangle + bells + cymbals) to vary the shades of the poetic text. Their “consonance” is close to assonance in poetry (from assono – “I sound in tune”), which in the musical context creates the timbre assonance. The symphonic instruments are combined in timbre groups (string, wind), and the ethnic often perform an individualized function (for example, guzheng with its irregular glissando in No. 2–4 gives a national flavour). The orchestral density, along with the gradual “academic turning” of timbres, increases from the second half of the sound of the cycle (No. 5) to the final. Xiao is replaced by the wind and brass (with No. 5), while the ethnic plucked is replaced by the harp. The gradual increase in the timbre multidimensionality of the texture also has the “opposite effect”, since it is combined with the enhancement of the timbre contrast in the final parts of the cycle and as a result of the “aggravation” of the chamberness. The most chamber part is number 6, where the brass is for the first time silenced, and only the pipa and guzheng are heard. The culmination of the “chamberness” is in the first stanza of the final: a duet of the voice and harp. Conclusion. The vocal-instrumental synthesis in the poem genre, identified in Zhao Jiping’s “The Eight Songs”, is characterized by the organic interaction of the national and European principles of musical thinking. The performers are faced with complex technical and psychological tasks that require a developed orchestral-timbre hearing, intellectualism and associative thinking. A vocal-instrumental poem is a way of modelling spiritual reality, in which the unity of time and space is manifested due to the poetic text, in which the integral sense-image of the Poet acts, personifying the sound-like concepts of the culture of its time and the history of an entire people (“national view of the world”), their “inclusion” into the musical chronotope of the 21st century.
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Hestiyani Parai, Anastasya Wahyudanti Saputri, and Lina Kartika Sari. "Development of Drama Studies Teaching Material Based on 21st Century Skills and It for Students of Indonesian Language and Literature Education Study Program, Faculty of Language and Arts, Universitas Negeri Jakarta." Aksis : Jurnal Pendidikan Bahasa dan Sastra Indonesia 6, no. 2 (December 28, 2022): 173–82. http://dx.doi.org/10.21009/aksis.060208.
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This research will develop a model of teaching materials for drama studies courses based on 21st century skills and ICT. The purpose of this research is to develop teaching materials for drama studies so that graduates of the Indonesian Language and Literature Education Study Program are able to understand drama study material according to the applicable curriculum and are able to implement it in schools. Preliminary research, first analyzing the need for teaching materials for drama studies courses for students. The results of this research are to develop and obtain teaching materials for drama studies based on 21st century skills and ICT for Indonesian language education study program students.
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Rosikh, Fahrur, M. Fathor Rohman, Isna Finurika, and Khoirun Nisa’. "Tarqiyah Maharat al-Qarn al-Hadi wa al-‘Isyrin fi Ta’lim Maharah al-Kalam ‘ala Asas al-Ta’lim al-Bina’i fi al-Jami’ah." Arabiyatuna: Jurnal Bahasa Arab 7, no. 2 November (November 17, 2023): 479. http://dx.doi.org/10.29240/jba.v7i2.8072.
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This study aimed to analyze the development of 21st century skills in the learning of constructivism-based speaking skill at Pesantren sunan drajat Lamongan. The research method used was qualitative research with the type of explanatory case study. Data collection techniques deployed observation, interviews, and documentation. The data analysis techniques consisted of data reduction, data presentation, and drawing conclusions. The results of this study indicated that constructivism-based speaking skill learning could develop students' 21st century skills. The developed 21st century skills included the skills of critical thinking, creative thinking, collaboration, and communication. Critical thinking skills were reflected in the abilities to analyze materials and learning resources, to find social facts, to choose mufrodat used in socio-drama practice, and to use Arabic grammar. Creative thinking skills were reflected in the abilities to compose drama scripts, to design drama scenarios, and to utilize the media in drama practice. Collaboration skills were reflected in the abilities to cooperate in observation activities, to cooperate in composing drama scripts, and to cooperate in drama training and practice. Lastly, communication skills were reflected in the abilities to express ideas, thoughts and feelings in Arabic, to carry out dialogues in Arabic, and to pronounce Arabic words and sentences correctly and correctly.
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Coscarelli, Carla Viana, and Ana Elisa Ribeiro. "Literacy and Reading for the 21st Century." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no. 3 (August 10, 2018): 129–40. http://dx.doi.org/10.14195/2182-8830_6-3_11.
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Each textual genre requires a specific approach by the reader. She needs to understand the composition of the texts, the languages that are articulated in it, in order to notice the singularities of literary texts and the symbolic systems they involve. The ‘Redigir’ Project develops and makes available, free of charge, activities to be used by teachers of Portuguese. The project deals, among others, with literary texts, exploring their comprehension from a perspective of literary and digital literacy, multimodality, and multiliteracy studies. Our goal is the development of students’ reading skills and the training of teachers who will help the students improve their reading skills of diverse textual genres on printed and digital media. Our proposals include activities about contemporary poetry, whose authors are interviewed by our team. There are also proposals involving the creation of picture books exploring augmented reality. We aim to contribute to the teachers’ training and help them put into practice recent literary and linguistic theories, working in a meaningful, critical and transformative way.
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Halamová, Martina. "Zobrazování nákazy v českých uměleckých textech s tematikou války v prvních dekádách dvacátého a jednadvacátého století." Slavica Wratislaviensia 177 (December 30, 2022): 213–20. http://dx.doi.org/10.19195/0137-1150.177.18.
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The paper is focused on the comparison of discourses formed in the literary texts which depict motifs of war at the beginning of 20th and 21st centuries. Images associated both with First and Second World War emphasize the shock of the changing world and lend literary credence to the texts. However, this goal is achieved by different means in the early 20th and the early 21st centuries. In expressionist novels and short stories metaphors of infection are used to describe the decline and the fall of the world of the early 20th century. Compared to that, the literary texts created in the early 21st century do not use metaphors because the experience of the Holocaust presented in the texts is viewed as a non-assimilable event and therefore it should not be translated into metaphors. In addition to the suffering of the Holocaust, the image of the infection in the literary texts of the beginning of the 21st century is only an accompanying description of the events of the Second World War.
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Zhurcheva, Olga V. "“New drama”: Pro et contra." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 484–87. http://dx.doi.org/10.18500/1817-7115-2022-22-4-484-487.
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At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.
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Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (December 30, 2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.
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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.
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Sultanova, Gulizar Ahmedovna. "WAYS OF SEARCHING FOR A MODERN THEME IN THE THEATRICAL ART OF DAGESTAN." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 26 (June 4, 2021): 77–82. http://dx.doi.org/10.31029/vestiyali26/11.
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The article deals with the search for a modern theme and images in the drama and theater of the early 21st century both on the scale of the Russian theater and in the Dagestan drama. On specific examples from the practice of creative activity of the theaters of the republic for two decades of the XXI century, ways and means of solving the problem are identified.
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Badriyah, Nurul, Ida Zulaeha, and Wagiran Wagiran. "Characteristics of Writing Explanation Text Enrichment Book Containing 21st Century Competence for Senior High School Students." Seloka: Jurnal Pendidikan Bahasa dan Sastra Indonesia 9, no. 3 (December 31, 2020): 239–46. http://dx.doi.org/10.15294/seloka.v9i3.40460.
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The formation of student personalities that can be developed with writing explanatory texts enrichment book containing 21st century competencies includes aspects of knowledge, skills, and personality that are integrated with 21st century competencies that students must master. This study aims to analyze the need for enrichment book development in writing explanatory text with 21st century competencies and the characteristics of enrichment book development for writing explanatory text with 21st century competence. The research method uses the Research and Development and uses six steps out of ten steps in the R&D method. The results obtained from this study were an analysis of the needs of students and teachers which were grouped based on question aspects, namely (1) material and content needs, (2) 21st century competency content needs, (3) presentation needs, (4) language needs. and (5) legibility and graphics needs. This needs analysis is to determine the tendency of the needs of students and teachers to the form of the enrichment book being developed. Then, the characteristics of the enrichment book are writing explanatory texts containing 21st century competencies according to the perceptions of students and teachers in accordance with the principles of content feasibility, presentation feasibility, linguistic feasibility, and graphic feasibility. In addition, teachers and students are very in accordance with the form of the book that is being made easy to carry. Therefore, the development of an enrichment book to write explanatory texts containing 21st century competencies is in accordance with the wishes of teachers and students in using a learning resource.
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Epner, Luule. "Contemporary Finnish drama in Estonian Theatre in the 21st century." Interlitteraria 24, no. 2 (January 15, 2020): 380–95. http://dx.doi.org/10.12697/il.2019.24.2.9.
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After regaining independence in 1991 Estonia, like other Baltic states, went through a transition period which can be described as a return to the West, i.e. Europe. By now, Estonia has joined European community and is successfully integrated with Europe. However, in regard to the country’s cultural and political identity, the process of self-determination continues, particularly on the level of regional identity: whether the newly independent Baltic countries belong to Eastern or Northern Europe? Estonia tends to position itself among Nordic countries, primarily by reason of close historical ties and linguistic kinship with Finland.
In the light of current identity processes the cultural interaction between Estonia and Finland deserves attention. This paper examines only one aspect: the reception of contemporary Finnish dramaturgy in the 21st century Estonian theatre. Finnish dramas had been staged in Estonian theatres since the end of the 19th century. However, it is noticeable that their number has significantly increased since the 2000s, and the repertoire of the major Estonian theatres contains far more new, contemporary Finnish plays than well-known classics. Plays by Leea Klemola, Sirkku Peltola, Juha Jokela, Mika Myllyaho, Pipsa Lonka and others enjoy great popularity among Estonian audiences. How do these plays represent Finnish society? How were they interpreted and received in Estonian theatre? How do stage productions of Finnish plays contribute to the construction of shared Nordic identity? The paper looks for answers to these questions.
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Speranskaya, Alevtina N., and Anastasia D. Baranchikova. "Dynamics of the attribute connections of the noun klyatva ‘an oath’ to the National Corpus of the Russian Language." Sibirskiy filologicheskiy zhurnal, no. 3 (2022): 222–33. http://dx.doi.org/10.17223/18137083/80/18.
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The paper investigates the dynamics of the attributive relationships of the word klyatva ‘an oath’ in the Russian texts of the 18th - 21st centuries collected in the National Corpus of the Russian Language. The authors performed statistical and semantic analyses of adjective lexemes with the word klyatva. The results include the description of the dominating adjective distributors of the word under study as substantive and the semantic fields associated with it. The number of adjective combinations in the texts of the 19th century is threefold higher compared to the texts of the 18th century. In the 20th century, the combinability concerning klyatva tended to increase, with contexts containing 57 different lexemes. The contexts of this word under study at the beginning of the 21st century contain about 40 lexemes, with more than a half being new. However, it is too early to sum up the final results on the quantitative compatibility of the 21st century texts. Every period of Russian language development is characterized by the introduction of new adjectives combined with klyatva as substantive. In the texts of the 19th - 21st centuries, the semantics of klyatva expanded as new options for compatibility appeared. Attributive compatibility shows that in the semantic scenario of klyatva, the adjectives used, first of all, emphasize the speech genre itself. Adjectives enhance the following elements of the scenario: the pronunciation of klyatva, its addressee and content, the place, the term, and the number of participants.
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Leva, Bernarda, Simon Zupan, and Nastja Prajnč Kacijan. "English Studies at the Dawn of the 21st Century." ELOPE: English Language Overseas Perspectives and Enquiries 21, no. 1 (June 30, 2024): 9–12. http://dx.doi.org/10.4312/elope.21.1.9-12.
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The special issue of ELOPE (Vol. 21, No. 1, 2024), guest edited by Bernarda Leva, Simon Zupan and Nastja Prajnč Kacijan, is a collection of sixteen studies reflecting a blend of continuity and innovation in English Studies. It presents research on diverse themes such as language, literature, translation, and the pandemic's effects on education and drama, underscoring the resilience and adaptability of English Studies.
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Anderson, Elizabeth. "Teacher education and drama: possibilities, promise, potential." Journal of the Canadian Association for Curriculum Studies 13, no. 1 (November 20, 2015): 113–37. http://dx.doi.org/10.25071/1916-4467.40243.
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Contemporary discussions about curricula, whether for schools or for higher education, come with demands for change to cope with uncertainty, unpredictability, and 21st century challenge. Core notions however of curriculum as structure for providing access to knowledge (Young, 2014), or a set of teaching and learning prescriptions (Scott, 2014) are hard to shift, yet questions of what knowledge and how is it formed are ones which should be critical for teacher education, where, as a site of higher education, decisions about that knowledge are contested (Barnett, 2015). The prospective teacher continues to negotiate tensions between knowledge of content and of curriculum, pedagogical knowledge and generic teaching skill, knowing as process and knowing in performative terms, and between shaping a role as teacher and as educator for the 21st century. This paper makes a case for the potential that an arts oriented course, specifically drama, holds for helping student teachers to conceptualise their own learning experiences within a teacher education curriculum, to better understand the facilitation of learning experiences within school and classroom curricula, and to begin to shape their teacher identity.
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A. F., Utkina. "Complex explanatory sentences with conjunctive and correlative words (based on modern Udmurt journalistic texts)." Historical and cultural heritage 14, no. 2 (2024): 199–206. http://dx.doi.org/10.62669/30342139.2024.2.18.
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The article is devoted to the study of complex sentences with explanatory clauses with allied and correlative words and their reflection in journalism of the 20th–21st centuries. Language examples were studied based on journalistic texts from the newspapers “Gudyri”, “Udmurt Kommuna”, “Sovetskaya Udmurtiya” and “Udmurt Dunne”. The main research methods were comparative, descriptive and analytical. The study involved archival sources, as well as the National Corpus of the Udmurt Language, containing 91.3% of the texts of the modern press. Analysis of quantitative characteristics shows that in journalistic texts of the last century explanatory sentences with conjunction subordination prevail (62.2%), but in texts of the 21st century. complex explanatory sentences with allied words predominate (66.3%). It was revealed that in journalism of the 1915–1990s. there are no proposals of the type being studied. The share of explanatory sentences with allied and correlative words in the press of the 21st century. is 0.3%. The largest percentage falls on sentences with the words mar... soe (33.9%) and syӵe... kudyosyz (24.2%).
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Livingstone, Dan. "TEACHING LIMNOLOGY IN THE 21ST CENTURY: TWO NEW TEXTS." Limnology and Oceanography Bulletin 11, no. 1 (March 2002): 1–3. http://dx.doi.org/10.1002/lob.20021111.
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Gibbs, Gary G., Whitney A. M. Leeson, James M. Ogier, Katherine L. French, Allyson M. Poska, Brian P. Levack, Jeffrey R. Watt, Jonathan W. Zophy, and Merry Wiesner-Hanks. "Writing and Editing Texts for the 21st Century Classroom." Sixteenth Century Journal 45, no. 4 (December 1, 2014): 973–85. http://dx.doi.org/10.1086/scj43920189.
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Rose McGovern, Kathleen. "Conceptualizing Drama in the Second Language Classroom." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 1 (January 1, 2017): 4–16. http://dx.doi.org/10.33178/scenario.11.1.3.
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Abstract: This paper reviews key literature published in English on drama and second language (L2) pedagogy. The author explores (a) the integral role drama has played in 20th and 21st century L2 teaching methodologies; (b) commonly cited approaches to integrating drama and L2 instruction; (c) uses of drama as a means of exploring culture and power relations within society, and; (d) major definitions and categorizations developed in the existing body of literature. To conclude, the argument is made that researchers must clearly explain and define their approaches to drama in L2 instruction and ground these approaches in relevant theories of second language learning.
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Hughes, Melissa. "The state of the art: teaching drama in the 21st century." NJ 40, no. 1 (January 2, 2016): 89–91. http://dx.doi.org/10.1080/14452294.2016.1239502.
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Eckersley, Mark. "Using Drama to Develop Communication Skills in the 21st Century Classroom." International Journal of Bilingual & Multilingual Teachers of English 04, no. 01 (July 1, 2016): 45–49. http://dx.doi.org/10.12785/ijbmte/040106.
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Ozola, Ieva. "Vienojuma, pretstata un šķīruma saikļi Lejaskurzemes izloksnēs." Vārds un tā pētīšanas aspekti: rakstu krājums = The Word: Aspects of Research: conference proceedings, no. 27 (November 3, 2023): 173–83. http://dx.doi.org/10.37384/vtpa.2023.27.173.
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The article analyses the use dynamic of cumulative, adversative, and disjunctive conjunctions in sub-dialects of Lower Kurzeme in the 20th – 21st centuries, based on the survey data of the Atlas of Latvian Dialects (ALD) in comparison with the texts in the collections of Kurzeme Institute of Humanities at Liepāja University and Latvian Language Institute at the University of Latvia, and published texts. The texts of the latest sources are written down by hand or recorded in the speaker’s conversation with the interviewer, which allows us to determine the use of connecting words in live speech. It is concluded that in the second half of the 20th century and the 21st century, the coordinating conjunctions characteristic of Latvian literary language dominated the sub-dialects of Lower Kurzeme (an observation made in the ALD survey already in the middle of the 20th century). The conjunction i < ir in the second half of the 20th century and the 21st century is much rarer than un but has not disappeared entirely from everyday speech and is usually used to connect several equal components, e.g. in Rucava, a riteni braûcu uz dârbu: piêci kilometri i rîtâ, vakarâ, i pusdiênâ. In the ALD survey, the conjunction bet dominates in the expression of the contrary, although in some sub-dialects, dialectal conjunctions have been recorded (abar in Rucava, aba in Grobiņa). In the second half of the 20th century and the 21st century in Lower Kurzeme, the colloquial adversative conjunction a is also in use, e.g. in Bārta, cic izvãra un sastampâ tuõs kartfeļus, a mana mamma vis:us kuõpîgi vãrija. In the ALD survey, as well as in the second half of the 20th century and the 21st century in Lower Kurzeme, mostly the conjunctions vai // va and jeb are used to express disjunction; jeb is more uncommon, it has both an explanative meaning, e.g. in Gramzda, ķeblis jeb kraģîtis – tas tâc krêsliņš mas:, kur pasēdēt, and a disjunctional meaning, e.g. in Rucava, gã a kũrpemis jeb pastalamis. The amount of available texts yet does not allow for quantitative research on the choice of coordinating conjunctions and the use of coordinating conjunctions not mentioned in the ALD.
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Hussain, Zeeshan, Amjad Hussain, Muhammad Mohsin Rashid, Usman Yousaf, and Aman Ullah. "A MULTIDIMENSIONAL COMPARATIVE STUDY OF NINETEENTH AND TWENTIETH CENTURY DRAMA AND NOVEL." Inception - Journal of Languages and Literature 1, no. 1 (June 30, 2021): 68–89. http://dx.doi.org/10.36755/ijll.v1i1.24.
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This corpus based research provides insight how the text of same genre differentiates from each other and how intra genres variations take place. This study highlights the functional variations exist in two different genres of literature (drama and novel) of 19th and 20th centuries on the basis of analysis conducted on the texts of both genres by using software MAT. The texts of both of the genres are analysed on different five dimensions given by Biber and some major and minor variations are observed that both the texts differ at different dimensions. The intra genre and inter genre comparisons have been done which gives some interesting findings and results. This study further highlights the specific features of both of the genres which are the hallmark of these two very genres (novel and drama) of 19th and 20th centuries. This present research is concluded on very interesting findings which may pave the ways for further research in this arena.
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Zeeshan Hussain, Amjad Hussain, Muhammad Mohsin Rashid, Usman Yousaf, and Aman Ullah. "A MULTIDIMENSIONAL COMPARATIVE STUDY OF NINETEENTH AND TWENTIETH CENTURY DRAMA AND NOVEL." Inception - Journal of Languages and Literature 1, no. 1 (June 30, 2021): 67–88. http://dx.doi.org/10.36755/ijll.v1i1.16.
Full textAbstract:
This corpus based research provides insight how the text of same genre differentiates from each other and how intra genres variations take place. This study highlights the functional variations exist in two different genres of literature (drama and novel) of 19th and 20th centuries on the basis of analysis conducted on the texts of both genres by using software MAT. The texts of both of the genres are analysed on different five dimensions given by Biber and some major and minor variations are observed that both the texts differ at different dimensions. The intra genre and inter genre comparisons have been done which gives some interesting findings and results. This study further highlights the specific features of both of the genres which are the hallmark of these two very genres (novel and drama) of 19th and 20th centuries. This present research is concluded on very interesting findings which may pave the ways for further research in this arena.
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Bintz, William P. "A-X-Y-N-T Means Grandma’s Eyes Are Getting Better." Language Arts 72, no. 1 (January 1, 1995): 50–54. http://dx.doi.org/10.58680/la199524414.
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Levytska, Oksana. "Rethinking of Hryhoriy Skovoroda’s Legacy in the 21st Century Publishing." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 91 (December 30, 2022): 21–30. http://dx.doi.org/10.26565/2227-1864-2022-91-03.
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The article is dedicated to a review of the works by Hryhoriy Skovoroda published in Ukraine over the past two decades. Interdisciplinary studies that employ literary criticism and book publishing methodology have been applied to systematize the editions that were released between 2000 and 2022. A significant contribution to the publishing of Skovoroda’s legacy is The Complete Academic Edition of Hryhoriy Skovoroda’s Works edited by Professor Leonid Ushkalov (2010). In the focus of the study are also important editions of the previous years, such as the first complete translation of the author’s works into Ukrainian literary language and its subsequent new editions. In terms of the range of the assortment, the following editions should be noted: Hryhoriy Skovoroda. Selected Works (Terra Incognita, 2017), Literary Works and Our Life – A Journey (Apriori), SkorovoroDAR. Life, Creativity, Legacy (Shkola Publishing House). A significant share of the editions published are texts by Skovoroda that are studied in schools, i.e. pupils are reading them in translations into modern Ukrainian language or as adapted texts for children of different age groups. Such editions can be found in the repertoire of such publishing houses as Shkola, Apriori, Family Leisure Club, Ranok, Vivat, Chas Maistriv and others. Contemporary editions tend to have quality visual presentation, graphic story and modern illustrations. Skovoroda’s texts have also received unique illustrative accompaniment done by Agrafka Art Studio, Anna Sezon, renowned artist Oleksandr Roitburd, Marysia Rudska and others for the format of collector’s or gift editions. The research also covers the Russian-language editions of Skovoroda’s works published in Ukraine as well as musical and facsimile editions. A review of the editions allows for tracing specific trends in the publications of Skovoroda’s texts and the issues of preparing them for publication. The article is accompanied by a bibliography of editions of Skovoroda’s works that have been selected for analysis.
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V. Shvetsova, Tatiana, Svetlana A. Dulova, and Veronika E. Shakhova. "Studying the Literary Features of the “Arctic Robinsonade” Plot in the Artistic Discourse of the 21st Century." Academic Journal of Interdisciplinary Studies 13, no. 2 (March 5, 2024): 53. http://dx.doi.org/10.36941/ajis-2024-0035.
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This research aims to describe and study the “Arctic Robinsonade” plot embedded in the texts of the 21st century, considering the literary features of these texts. The authors revealed the properties due to which the “Arctic Robinsonade” plot is preserved in the literature of the first decades of the 21st century. Structural-semantic analysis enabled us to identify the elements that are introduced or removed from the plot of this story and update the potential content of texts created on the basis of one plot. This article assesses new opportunities for a promising direction in the subject area of the history of literature – studying fiction in the context of modern issues of preserving “cultural memory”. This article lays the conceptual foundations for further study of integrating a well-known historical episode into modern mass culture. This research demonstrates a significant practical contribution to the development of subjectology in the world literature. This article presents a number of useful literary commentaries aimed at expanding the interpretive background of the text, originally published in Europe in the 18th century – the book by P.-L. Le Roy about the adventures of Russian sailors on Svalbard (Spitzbergen). The scientific result of this research is the creation of a model of the “Arctic Robinsonade” in the texts of authors of the 21st century.
Received: 3 October 2023 / Accepted: 16 February 2024 / Published: 5 March 2024
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Kruger, Loren. "Cold Chicago: Uncivil Modernity, Urban Form, and Performance in the Upstart City." TDR/The Drama Review 53, no. 3 (September 2009): 10–36. http://dx.doi.org/10.1162/dram.2009.53.3.10.
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Since the Haymarket massacre of 1886, Chicagoans have buried and resurrected the city's experiences in performances, politics, and built environments. From Sullivan to Gehry to Chris Ware, from socialist militancy to immigrants' rights, from 19th-century commemorations of the Paris Commune to 21st-century stagings of architectural and political conflicts, Chicago has generated drama in urban theory and practice as well as in theatre.
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Dias, Shamini. "Process Drama for 21st Century Learning: Building Multiliteracies and Creative-Adaptive Capacity." International Journal of Literacies 19, no. 4 (2013): 27–40. http://dx.doi.org/10.18848/2327-0136/cgp/v19i04/48800.
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Peskova, Anna Yu. "Modern Slovak drama about The Second World War." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 268–77. http://dx.doi.org/10.37816/2073-9567-2022-63-268-277.
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The paper addresses the Slovak drama of the 21st century dedicated to the Second World War, the Holocaust, and the Slovak National Uprising. After the “velvet revolution” of 1989, interest in the military and insurgent theme in Slovak art as a whole declined sharply, but as early as in the 21st century playwrights and theaters of Slovakia are increasingly beginning to return to these topics. Many of these plays created in the last twenty years were written in order to actualize public discussions about the period of the Slovak Republic (1939–1945), around the mass deportation of Jews from its territory, around the arization, etc. The main task of these plays` authors is to put serious moral questions before the viewer. For this purpose, the paper focuses on social and historical context in which National Socialism spread in Slovakia. Such are, for example, the works of R. Ballek “Tiso”, P. Rankov “It Happened on the First of September (or Some Other Time)”, A. Gruskova “The Woman Rabbi”, V. Klimachek “The Holocaust”, Y. Yuraneva “The Silent Whip”. One of the most important questions that Slovak writers and society have been asking in recent decades is the question of how and why Slovaks actually joined Nazi Germany during the Second World War, what prompted them to do this.
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Murakami, Ineke, and Donovan Sherman. "Performance beyond Drama." Journal of Medieval and Early Modern Studies 51, no. 3 (September 1, 2021): 387–95. http://dx.doi.org/10.1215/10829636-9295002.
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The field of performance studies has invigorated premodern scholarship by directing critical attention to live, ephemeral events that unsettle the textual archive. This special issue of JMEMS builds on this work by stepping away from the usual emphasis on theater and its texts to examine “performance” conceived more broadly. With case studies that range from a pig-clubbing “game” in medieval festivals to the gnomic utterances of secretive eighteenth-century philosophical rituals, these essays ask how we study a medium that has, by its nature, disappeared. How, in other words, do we engage textual remnants to locate traces of embodied action? A forum midway through the issue offers speculative and provocative answers to this question, and an afterword takes a wider view of the enterprise to think through its implications for periodization and historical analysis.
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Perry, Tonya B., and B. Joyce Stallworth. "21st-Century Students Demand a Balanced, More Inclusive Canon." Voices from the Middle 21, no. 1 (September 1, 2013): 15–18. http://dx.doi.org/10.58680/vm201324174.
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Historically, the canon has been chosen by a “closed group” to determine the types of quality literature for our society. This limited list still exists in schools today, but an expansion of this prescribed inventory is essential for the 21st-century student who demands an understanding of a global society and current issues that require a deep analysis and evaluation of multiple types of texts.