Academic literature on the topic 'Coma – patients – drama'

Abstract This final chapter returns to the Ladder, but also takes in John Climacus’ other work, To the Shepherd. In these, John multiplies images for his spiritual director, favoring especially those of physician, judge, king, and shepherd. John uses these different images to explore both degrees of coercion in spiritual direction and different contexts for it. He is especially interested in expanding and nuancing the therapeutic hierarchy on display in church-order literature by means of a detailed analogy with a physician’s toolkit and expertise in dosimetry. The director learns to alternate harsher and gentler disciplines as well as to reserve more painful ones for more serious or persistent problems. These nuance John’s description of a monastery’s abbot as a king dispensing orders, while the regal imagery locates practices of confession and penance in a disciplinary organization. At other points, John describes private confessional encounters in medical terms, drawing especially on the manners of physicians and patients in intimate settings. For more public confessions, the same relationship is described through judicial imagery as John develops manners appropriate to that profession. Like Cassian and Basil, he deals with intransigent monks for whom he recommends amputation, in contrast to the “prison” he gleefully imagines in the Ladder’s Fifth Rung. Finally, John reconceives the monastic space as a clinic and its daily activities as a drama through which hidden realities come to light and the sick find healing.

The legendary playwright William Shakespeare is the greatest English dramatist in the world. His plays are widely read and enacted all over the world. In Shakespeare’s plays women are well etched and reflected the universal human nature. In the plays of Shakespeare we come across many strong, resourceful and self confident women who, at times are stronger than men, and they create their own space and represent a spirited independence. The construction of female characters in Shakespeare’s plays reflects the Elizabethan image of women in general. Women of that era were supposed to represent virtues like obedience, silence, sexual chastity, humility, constancy and patience. There were several women in Shakespeare’s plays who assert themselves in very different ways, like-Cleopatra, Portia, Desdemona, Juliet, Lady Macbeth, Miranda, Olivia, Rosalinda and Viola. In ‘King Lear’, Cordelia embodies all the angelic and nurturing qualities that the other two Regan & Goneril lack. Regan & Goneril, King Lear’s two monstrous daughters, are archetypal villains from the onset of the play and although they serve well their purpose, they are not as developed as other Shakespeare “Villains”, such as Lady Macbeth. Women is the plays of Shakespeare are the most individualistic heroines and displays a certain poise and maturity even in the tough times and saddest scenes. Women show the “feminine” virtues of love, sacrifice and piety. Few heroines show a loving nature, a tender heart, resolution and dignity like Portia in the merchant of Venice. Evil is the disruptive force and the tragedies show the hellish consequences, which always lead to deaths of the innocent and good. Women appear as supporting and central character in Shakespeare’s play, and these characters, as well as the so called “Dark Lady” of the sonnets, have elicited a substantial amount of criticism, which received added impetus during the second-wave feminism of the 1960s. Early criticism of female characters in Shakespeare’s drama focused on the positive attributes the dramatist bestows on them and often claimed that Shakespeare realistically captured the “essence” of feminity

The purpose of this paper is to clarify how creativity is produced in filmmaking from a relational perspective. Creativity here refers to the fact that films that contain original ideas and evoke sympathy in the audience are not produced solely through the internal mechanisms of individuals, but rather as a result of the collective actions and activities of various people.In recent years, movies have moved beyond the confines of theaters, and infrastructures such as Amazon Prime and Netflix are rapidly expanding. Against this backdrop, independent Japanese films have been receiving high acclaim overseas. The so-called independent films are not films that come out with huge budgets and a fixed release destination like the major film systems, but films that are planned and produced by the filmmakers themselves without any financial resources. Independent films can have an impact on people despite the risk of completion and release, but their reputation is focused on the director and producer. For this reason, the relationship between actors other than the director and producer in filmmaking is not fully clarified.Filmmaking is a multi-layered and contingent creativity that is created through the long-term interaction of not only the director, producer, and cast, but also various other actors such as equipment, script, and location. While independent films allow for a greater degree of freedom in planning, they are also subject to complexities and volatility, such as difficulties in obtaining financing and differences in the image of the film among the staff, which can prevent the project from proceeding as planned at the outset.The subject of the study is Parkinson's disease (PD) patients and movies about it. PD is an intractable disease for which there is currently no curative treatment, and which causes progressive symptoms such as tremors in the limbs and stiffness in the muscles that interfere with daily life. In order to control the progression of the disease, it is said that regular exercise therapy and rehabilitation are essential, along with daily medication. The film will be produced with the cooperation of the PD Patients Association, which has 8,000 members, and will consist of two parts: a drama about the life of the main character who was diagnosed with PD in his 40s, and a documentary about several PD patients in their 30s to 60s. The research was conducted by one of the authors (a filmmaker) using ethnography: from December 2020 to November 2021, he conducted participant observation of the relationships between the actors involved in the project and the living conditions of the PD parties, and interviewed them. Based on these observations, we conducted a series of interviews. The PD parties who would become the informants and the filmmakers had numerous dialogues. As a result, their social and living environments were unraveled.