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Journal articles on the topic 'Drama – Fiction'

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Author: Grafiati

Published: 26 July 2024

Last updated: 28 July 2024

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1

Tawalbeh, Ahmad, Omar Blibech, and Hesham Elmarsafawy. "Utilization of Science Fiction Drama in Higher Education: An Innovative Pedagogy for Brain Warm-up, Inspire Futuristic Views, and Foster Creativity." International Journal of Media and Mass Communication 05, no. 01 (January 1, 2023): 117–18. http://dx.doi.org/10.46988/ijmmc.05.01.2023.07.

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The research aims to examine the potentiality of utilizing science fiction drama in higher education learning environments. The research team initiated the study by surveying the preferences of both students and instructors in range of higher education institutions towards science fiction drama. The surveys have been extended to explore the existing practices of utilizing science fiction drama in educational processes. The students and instructors’ surveys provided evidence of expressed personal interest in watching science fiction drama with diverse preferences towards various types of science fiction drama. However, the results of the surveys demonstrated low utilization of science fiction drama in the existing teaching and learning practices. Accordingly, an experimental study was conducted in a sample class where a subject on ‘Sustainability’ has been delivered by presenting selected sections of a relevant science fiction movie to a group of students followed by a lecture with reflections on the presented scenes. The students were assigned to reflect on the subject in a structured questionnaire in terms of understanding and innovative thoughts around the subject. The students’ feedback provided valuable insights on the positive impact and effectiveness of utilizing science fiction drama within higher education learning environment. The research contributes to the development of innovative pedagogies at higher education institutions by introducing the approach and outlining the mechanism of utilizing science fiction drama in teaching and learning processes as alternative tool for brain warm-up, better understanding of subject, forming futuristic views, and fostering creativity while enhancing students’ engagement. Keywords: Higher Education, Science Fiction Drama, Educational Processes, Pedagogy, Brain Warm-up, Futuristic View, Foster Creativity, Learner Interest and Engagement.

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2

Naureen, Abida, Jam Sajjad Hussain, and Nasir Hameed. "Fan Fiction and Fandom: A Case of Pakistani TV Drama "Mere Pas Tum Ho"." Global Digital & Print Media Review VI, no. I (March 30, 2023): 57–66. http://dx.doi.org/10.31703/gdpmr.2023(vi-i).05.

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This research paper focuses on the phenomenon of fan fiction in the context of the popular Pakistani TV Drama, "Mere Pas Tum Ho." Using Henry Jenkins' concept of participatory culture as a theoretical framework, this study aims to explore the themes existent in fan fiction based on the drama. The study employs a thematic analysis approach to examine a selection of fan fiction pieces based on said drama shared on fan fiction websites. Results indicate fan fiction based on "Mere Pas Tum Ho" is a reflection of the fans' engagement with and interpretation of the original work. Fan fiction pieces provide an alternative perspective on the characters of the drama. Fans use them as a platform to express their own ideas and opinions. The study shows fan fiction is a form of participatory culture, as fans actively engage with original work and use it as a springboard for their own creative output.

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3

PONTARA, JOHANNA ETHNERSSON. "‘You Want Drama? Go to the Opera!’." Music, Sound, and the Moving Image 18, no. 1 (July 2024): 7–27. http://dx.doi.org/10.3828/msmi.2024.3.

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This article addresses the role played by opera in fiction film by drawing attention to the action film Mission: Impossible – Rogue Nation (Christopher McQuarrie, 2015). Giacomo Puccini’s Turandot (1926) is treated here in a way that makes it appear as something more than a diegetic background and energy reinforcement for action scenes. By taking into consideration Daniel Yacavone’s (2012; 2014) view of film as a combination of a construction and a known world, I argue that the use of opera displays a stretching of the boundaries between fiction and real life, which in turn has implications for how the film can be regarded as an opera–film encounter. The film makes the opera emerge as significant in its own right through an intricate interaction between fictional denotation and engagement with the lived reality of the film viewer. Ultimately, I suggest that Rogue Nation provides an opportunity not only to reconsider a common way of approaching intersections between opera and fiction film, but also to extend and refine Yacavone’s theory.

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4

Haley, Madigan. "Modernism's World Drama: Joyce, Wagner, and the Anti-Systemic Stirrings of a Global Artwork." Journal of Modern Literature 46, no. 3 (March 2023): 1–19. http://dx.doi.org/10.2979/jmodelite.46.3.01.

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Abstract: Two of James Joyce's earliest essays identify a kind of artwork that would remain a model for his fiction: the world drama. Joyce's notion of the world drama built upon an aspect of Richard Wagner's theoretical writing that has been largely forgotten: the program for a revolutionary, nonnational artwork. Joyce reimagined this program within the conditions of colonial Ireland and an increasingly international print culture, conceiving of a work that is oriented toward the world at large and meant to articulate a revolutionary consciousness for its audience. Joyce's works of fiction can be understood, in these terms, as world dramas, which is one of the reasons for their influence. The history of the world drama reveals how the effort to create a revolutionary world-oriented artwork spanned international modernism, evolving as it passed from Wagner to Joyce and then later to artists such as Sergei Eisenstein and Mulk Raj Anand.

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5

Haley, Madigan. "Modernism's World Drama: Joyce, Wagner, and the Anti-Systemic Stirrings of a Global Artwork." Journal of Modern Literature 46, no. 3 (March 2023): 1–19. http://dx.doi.org/10.2979/jml.2023.a901928.

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Abstract: Two of James Joyce's earliest essays identify a kind of artwork that would remain a model for his fiction: the world drama. Joyce's notion of the world drama built upon an aspect of Richard Wagner's theoretical writing that has been largely forgotten: the program for a revolutionary, nonnational artwork. Joyce reimagined this program within the conditions of colonial Ireland and an increasingly international print culture, conceiving of a work that is oriented toward the world at large and meant to articulate a revolutionary consciousness for its audience. Joyce's works of fiction can be understood, in these terms, as world dramas, which is one of the reasons for their influence. The history of the world drama reveals how the effort to create a revolutionary world-oriented artwork spanned international modernism, evolving as it passed from Wagner to Joyce and then later to artists such as Sergei Eisenstein and Mulk Raj Anand.

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6

Khalil, Hend Khalil. "Science Fiction Drama: Promoting Posthumanism." CDELT Occasional Papers in the Development of English Education 66, no. 1 (January 1, 2019): 447–62. http://dx.doi.org/10.21608/opde.2019.133249.

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7

Rainey, K., M. Price, P. Creber, A. Youssef, A. Pieris, and D. Dutta. "Medical drama: Fact or fiction?" European Geriatric Medicine 4 (September 2013): S142. http://dx.doi.org/10.1016/j.eurger.2013.07.464.

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8

Muhammad Ashraf and Muhammad Nasir Kiazai. "براہوئی ڈرامہ نا اولیکو کتاب ’’استو نا بندغ‘‘ اسہ جاچ اس." Al-Burz 11, no. 1 (December 25, 2019): 44–50. http://dx.doi.org/10.54781/abz.v11i1.44.

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Raag, a folk term has used for Drama in ancient Brahui. In folk literature when the Brahui modern literature were not introduced the Term Raag were used for entertain. After establishment of Radio Station center at Quetta, the different parts of modern literature opened the windows for Brahui fiction. There is prominent writer which Mr. Ghulam Nabi Rahi has started firstly Brahui radio Drama, soon after the tradition of Brahui drama has spread all over the Balochistan. A compilation of his first period’s Drama known as Isto naa Bandagh. This research paper discussed and analyses the technique and tendency of Rahi’s Drama. Mostly his dramas have played from Radio and Television Quetta center after Sixties. Shaahbeg naa wataakh a very famous radio Drama, where the social problems were reflecting. A descriptive method has been used to complete this paper.

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9

Cooke, Lez. "Six and ‘Five More’: Experiments in Filmed Drama for BBC2." Journal of British Cinema and Television 14, no. 3 (July 2017): 298–323. http://dx.doi.org/10.3366/jbctv.2017.0375.

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In 1964–6 John McGrath produced two series of filmed dramas for BBC2, the first under the series title Six, while the second series, provisionally titled ‘Five More’, was transmitted without a series title. At a time when most drama was being produced from the television studio, some of it still being transmitted live, this was a new departure, with the first six films pre-dating Up the Junction (1965) and the second series predating Cathy Come Home (1966), the two Wednesday Plays which have been celebrated for making the breakthrough to filmed drama at the BBC. Unlike the Loach/Garnett films, which were made by the Drama Department, McGrath's series were commissioned by Huw Wheldon's Documentary and Music Programmes department, which also produced Peter Watkins’ Culloden (1964), and were described as a hybrid of ‘documentary fiction’. In fact, they were an eclectic mix of different forms and styles, from Ken Russell's silent cinema pastiche, The Diary of a Nobody (1964) to Philip Saville's experimental The Logic Game (1965) and John Irvin's lyrical Strangers (1966). This article seeks to reconsider these films as examples of forgotten television drama from the mid-1960s and to examine the claim that they represent a new form of ‘documentary fiction’.

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10

Murphy, Sarah. "Drama as Docufiction." Canadian Theatre Review 94 (March 1998): 36–41. http://dx.doi.org/10.3138/ctr.94.009.

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Leila Sujir interviewed by Sarah Murphy with excerpts from Leila Sujir’s The Dreams of the Night Cleaners Murphy: In The Dreams of the Nightcleaners, your docufictive approach to your material - the combination of document, drama, fiction and fantasy in a multilayered fantasy - yields an extraordinarily rich and complex final product. How did you decide on this approach?

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11

Nelson, Mark, and Michael Mateas. "Search-Based Drama Management in the Interactive Fiction Anchorhead." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 1, no. 1 (September 28, 2021): 99–104. http://dx.doi.org/10.1609/aiide.v1i1.18723.

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Drama managers guide a user through a story experience by modifying the experience in reaction to the user's actions. Search-based drama management (SBDM) casts the dramamanagement problem as a search problem: Given a set of plot points, a set of actions the drama manager can take, and an evaluation of story quality, search can be used to optimize the user's experience. SBDM was first investigated by Peter Weyhrauch in 1997, but little explored since. We return to SBDM to investigate algorithmic and authorship issues, including the extension of SBDM to different kinds of stories, especially stories with subplots and multiple endings, and issues of scalability. In this paper we report on experiments applying SBDM to an abstract story search space based on the text-based interactive fiction Anchorhead. We describe the features employed by the story evaluation function, investigate design issues in the selection of a set of drama management actions, and report results for drama managed versus unmanaged stories for a simulated random user

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12

Keyser, Catherine. "Robert Benchley and Dorothy Parker ‘In Broadway Playhouses’: Middlebrow Theatricality and Sophisticated Humour." Modernist Cultures 6, no. 1 (May 2011): 121–54. http://dx.doi.org/10.3366/mod.2011.0007.

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This essay proposes that humorists Robert Benchley and Dorothy Parker cast the middlebrow professional as a modern performer in their drama reviews and fiction. Under the sign of sophistication, their work champions individual identity and social status based on professionalism, public performance, and wit. The article traces sophistication as an ideal on the Broadway stage of the 1920s and 1930s, analyzes the skeptical personae that Benchley and Barker create in their drama reviews for middlebrow magazines, and follows the trope of performance (monologue, song, stage) in fiction by Benchley and Parker. In their drama reviews, Benchley and Parker reclaim the tonal extremes of modernist drama for the alienated middle-class professional, and they insist that even artistic avant-gardes derive their techniques from low-cultural spectacle and mass media people-pleasing. In so doing, they encouraged their readers to view themselves as consumers and producers of modern performances. In their fiction, Benchley and Parker use the roles of the beleaguered businessman and the world-weary divorcée to advocate social mobility, professional independence, and hedonistic choice over self-abnegating duty.

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13

Каспіч, Галина, and Ніна Поляруш. "Valerii Herasymchuk’s biographical drama: culturological intertextuality." Українська література: історичний досвід і перспективи, no. 1 (December 18, 2023): 88–101. http://dx.doi.org/10.31652/3041-1084-2023-1-88-101.

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The article is devoted to a voluminous biographical dramas Valerii Herasymchuk — the cycle «Piesy pro velykyh (Plays about the Great)». It is not yet fully formed, as the author is still adding works to this day, so it is required careful reading. A professional analysis of the writer’s biographical drama in the context of the intertextual methodology of modern literary studies seems appropriate.It is noted that Valerii Herasymchuk created his own system of relationships to the biographies and works of each of his protagonists, practicing new genre experiments and updating the already known forms of literary biography in relation to the cycle «Piesy pro velykyh (Plays about the Great)».Analysis of literary works devoted to contemporary biographical drama allows us to conclude that researchers of its various aspects often ignore the dramatic works of Valerii Herasymchuk as quite difficult for literary reception. At the center of each drama in the cycle «Piesy pro velykyh (Plays about the Great)» is a prominent historical or cultural figure: Metropolitan Andrii Sheptytsky, writer and film director Oleksandr Dovzhenko, historian and fiction writer Dmytro Yavornytskyi, Hetman Ivan Mazepa, poet Olena Teliha, fighter for Ukraine Stepan Bandera, classics of Ukrainian modern literature Ivan Franko and Lesia Ukrainka, singer Kvitka Cisyk, and outstanding Ukrainian director Les Kurbas.These plays can refer to different models and kinds of biographical drama, which is a distinctive feature of contemporary Ukrainian drama. As a playwright, Valerii Herasymchuk creates one of the directions of its development. His biographical drama organically combines dominant tendencies tied to the broadest cultural intertext. Valerii Herasymchuk’s innovation is the involvement of dramatic genres in the system of motifs and characters of plays, when the cultural intertext in the dramatic discourseworks at one of the deepest levels — the genre level.Herasymchuk’s biographical drama, represented by the cycle «Piesy pro velykyh (Plays about the Great)», is distinguished by «biographical trust», brave genre experimentation, and different strategies of prose, fiction, philosophical and literary reflections. Summarizing all of the above, Valerii Herasymchuk’s biographical drama is a promising material for literary analysis and generalization.

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14

Kannik Haastrup, Helle. "Den tværmediale serialitet." Passage - Tidsskrift for litteratur og kritik 33, no. 79 (July 1, 2018): 103–15. http://dx.doi.org/10.7146/pas.v33i79.127531.

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This study investigates how serial storytelling in fiction film and television drama are connected through transmedia relations with a focus on aesthetics and the analysis of narrative, character and title sequences and how they are establishing seriality. The analysis is concerned with two main tendencies apparent in contemporary media culture representing different forms of transmedia seriality: ‘multi-protagonist transmedia storytelling’ as it unfolds in the Marvel fictional universe between the film series and the tv-series and ‘the mind game serial drama’ in the tv-series Westworld with connections to the official website and social media.

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15

Ali Fauzi. "FACT AND FICTION IN WILLIAM SHAKESPEARE’S KING LEAR." Karangan: Jurnal Bidang Kependidikan, Pembelajaran, dan Pengembangan 1, no. 01 (November 16, 2019): 73–82. http://dx.doi.org/10.55273/karangan.v1i01.9.

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Sastra merupakan produk masyarakat buah karya pengarang hasil olah penafsiran tentang kehidupan nyata. King Lear adalah drama produk masyarakat zaman Renaisance, maka tentu drama ini mencerminkan fakta dan cermin masyarakat pada zamannya. Shakespeare memproses nya melalui imajinasi dan perenungan sehingga unsur fiksi juga pasti ada. Dalam drama ini, fakta terlihat lewat seting, karakter dan peristiwa. Dari unsur seting, kisah ini terjadi di Inggris, di istana dan Pesisir Dover pada tahun 1602-1608 tepatnya zaman Renaisan yang atmosfernya penuh dengan konflik antara Inggris dan Spanyol. Unsur karakternya menampilkan tokoh utama yang historis dan legendaris serta tokoh cerita yang lazim ada pada dunia nyata. Peristiwa yang ada mencerminkan fenomena dan pola fikir masyarakat umumnya seperti pembagian warisan yang tidak adil, satu pria di perebutkan dua wanita, prubahan pola fikir, munculnya gaya hidup sekuler dan matrialis serta kepercayaan pada mitos klasik. Semua aspek tersebut sebetulnya fiksi karena King Lear merupakan karya sastra produk dari imajinasi. Jadi Drama ini tentu mengandung unsur fakta dan fiksi yang bias di analisa dari aspek logika dan imajinasi.

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Fareeha Zaheer. "Theatrical Milieu: Investigating Drama and Theatre in tandem with Socio-Political Landscape of Pakistan." sjesr 4, no. 2 (May 25, 2021): 278–87. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(278-287).

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This study is an attempt to trace the impacts of socio-political conditions in the formation and evolution of drama and theatre traditions in Pakistan. It provides the genesis of theatre and drama in Pakistan intertwining it with the past and present situations of this genre of literature. It also ventures at the inert position of drama and theatre in English in Pakistan. Qualitative textual analysis is conducted to analyze and highlight the major available critical acumen in the genre of Pakistani drama and theatre. The methodology adopted is interpretive of the theatrical performances by major theatre groups, and the contributions of key playwrights in cementing the foundation of drama and theatre traditions. The major findings are related to the socio-political situations prevalent since the inception of Pakistan and their significance in shaping both dramas in writing and drama in performance. It also examines the role of pioneer theatrical groups and their projects that carved a niche in the theatrical landscape of Pakistan. As compared to fiction theatre and drama remained sporadic and lackluster affair in Pakistan, it is vital to have a deeper understanding and clarity of the socio-political issues that shaped resistance &political theatres and later commercial theatre groups.

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17

Kolodinskiy, Mikhail N. "Evolution of Dramaturgy of Fiction Popular Science Films." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 30–39. http://dx.doi.org/10.17816/vgik7330-39.

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The article treats the problem of using dramaturgy means in fiction popular science films. Plot constructions of the most popular genres are analyzed such as: melodrama, social drama in fiction kulturfilms of the twenties. As well as the phenomenon of the fiction popular science film of the new type - scientific-feature.

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18

Österlind, Eva. "Drama in higher education for sustainability: work-based learning through fiction?" Higher Education, Skills and Work-Based Learning 8, no. 3 (August 13, 2018): 337–52. http://dx.doi.org/10.1108/heswbl-03-2018-0034.

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PurposeThe purpose of this paper is to highlight the use of drama in the context of professional learning for sustainability, and specifically, a drama workshop on sustainability for in-service teachers. The workshop was designed to explore environmental problems from several perspectives, by using drama techniques like bodily expressions, visualisations and role-play.Design/methodology/approachData are drawn from questionnaires evaluating the effects of a drama workshop delivered in Helsinki in 2017. In total, 15 in-service teachers answered open-ended questions. Responses from experienced teachers were chosen as particularly interesting in relation to work-based learning.FindingsThe findings demonstrate that drama work contributes to education for sustainability in terms of increased self-awareness, critical reflections and signs of transformation; experienced professional learners bring their workplace context into the university, which enriches teaching and learning; and sustainability is a non-traditional subject in need of non-traditional teaching approaches.Research limitations/implicationsThe results of this small-scale study are only valid for this particular group.Practical implicationsThe study gives an example of how applied drama can contribute to learning for sustainability in higher education.Originality/valueThis paper contributes to a growing literature concerning how drama allows participants to work on real problems, from a safe position in a fictive situation, providing both closeness and distance. When students become involved in anas-ifsituation, it leads to increased motivation and practice-oriented learning. As the content of sustainability can be challenging, drama work offers a meaningful context in which concepts and issues can be explored. Fictive situations may contribute to more realistic learning experiences.

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19

Ledent, Bénédicte. "Caryl Phillips’s drama: Liminal fiction under construction?" Journal of Postcolonial Writing 51, no. 1 (November 27, 2014): 84–94. http://dx.doi.org/10.1080/17449855.2014.982924.

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20

Wetmore, Kevin J. "Contemporary Black Men's Fiction and Drama (review)." Research in African Literatures 34, no. 2 (2003): 231–32. http://dx.doi.org/10.1353/ral.2003.0051.

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21

Duchesne, Scott. "Invisible Realms: Canadian Speculative Drama." Canadian Theatre Review 131 (June 2007): 27–32. http://dx.doi.org/10.3138/ctr.131.004.

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Science has never been a popular subject for Canadian playwrights. Prior to the 1960s, few if any Canadian plays of note dealt directly with topics in science, and, with a handful of exceptions – albeit some of them very prominent exceptions (in particular, John Mighton) – few contemporary Canadian playwrights have dealt directly with issues rooted in technology. There have been even fewer examples of Canadian playwrights consistently producing work in the genre in which science and technology have always flourished as subjects: science fiction or, more specifically in this article, speculative fiction (SF). For the most part, the dominant formats in Canadian drama over the past century have been varieties of realism and naturalism. Kitchen sinks, family dysfunction, a host of social ills and the harshness of the land or the city have consistently trumped works of sheer imagination in terms of critical and, apparently, audience appeal.

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22

Koman, Aleksandra. "Metatheatre of Pirandello as an Attempt to (Re)define the Theatre." Literaturoznawstwo 1, no. 13 (April 30, 2020): 45–55. http://dx.doi.org/10.25312/2451-1595.13/2019__04ak.

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Luigi Pirandello is one of the greatest creators of the metatheatre. The Italian Nobel Prize winner has tried for years to explore the unclear status of theatrical performances, exposing the paradoxical truths and relations in which the spectacle is implicated. The metatheatrical trilogy of Pirandello includes the following dramas: Six characters in search of an author, Tonight we improvise and Each in his own way. Despite the fact that these texts put emphasis on various aspects of the same problem, they constitute an extremely coherent and – most importantly – up-to-date reflection on the nature of the medium they represent. The action of these dramas take place within a microcosm of indefinite boundaries and its fiction, contrary to accepted conventions, blends into the real world, blurring the border between art and life, imitation and original, truth and falsehood. The author of the article investigates the metatheatrical experiments of the Sicilian master in the three above-mentioned dramas, demonstrating how Pirandellian games with theatre’s conventions and stage illusion changes (broadens) the understanding of the theatrical spectacle and stage fiction. Keywords: Pirandello, metatheatre, modern drama, stage illusion, act of creation, imitation, truth, awareness of fiction

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23

Dr.Tahseen Bibi, Raj Muhammad. "Role of Younas Qayasi in Evolution of Drama on Peshawar Television." DARYAFT 14, no. 2 (December 30, 2022): 105–14. http://dx.doi.org/10.52015/daryaft.v14i2.279.

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Drama is a literary genre of fiction .It has dated back as the human history itself. It passed through various cultural boundaries. In Hindustan, various dramatists exhibited their skills and potential in it. When partition of Pakistan took place, the dramatists of KPK, especially showed great contributions. One of among them, Younas Qayasi is well known dramatist, who presented and staged not only Urdu but Pashto and Hindko dramas too. He earned great fame and name at national and International level.

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Y, Lalitha. "Postmodernism in the Fiction Synchology Summary of Kumaraselvas Fiction." International Research Journal of Tamil 3, S-1 (June 14, 2021): 132–37. http://dx.doi.org/10.34256/irjt21s121.

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The article Post Modernism, written by writer Kumaraselva, examines the emergence of postmodernism in the short stories Nagamalai, Karatam, Ukilu, Vidalu and Uyirmaranam, and then modernity does not see anything as universal and analyses everything separately. It is also expanding beyond the limits of art and literature to philosophy, politics, lifestyle, technology, architecture, drama, cinema. Postmodernism created myths with a mystery that distorts language, distorts stories and expresses the poetry of the language. It also attracts the attention of the readers and gives them a happy reading experience. It is noteworthy that postmodernism is not theory but also in life.

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Hutson, Lorna. "Imagining Justice: Kantorowicz and Shakespeare." Representations 106, no. 1 (2009): 118–42. http://dx.doi.org/10.1525/rep.2009.106.1.118.

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Ernst Kantorowicz's The King's Two Bodies is concerned with tracing the development, through the Middle Ages, of abstract concepts of the public good as separable from the monarch. Renaissance scholars, however, tend to read Kantorowicz as if English Renaissance drama collapses representations of the polity and public good into the monarch's sacred person. Renaissance equity, in particular, has recently been defined as the sacred monarch's prerogative, and has been confused with Carl Schmitt's sovereign decision on the exception. This essay argues by contrast that Renaissance thinkers saw equity as an enlargement of the law by fictions of intention for the public good, and that, accordingly, Renaissance drama invites audiences and citizens alike to engage in compassionate and equitable fiction-making by critiquing monarchical claims to sacred status.

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Zhang, Jinmei. "Growing Drama: A New Integral Paradigm through Children’s Drama Experience Construction in Early Childhood." Beijing International Review of Education 3, no. 4 (January 31, 2022): 579–90. http://dx.doi.org/10.1163/25902539-03040006.

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Abstract Traditional drama education in early childhood has been concentrated on the interdisciplinary level, barely integrating children’s mind, body, and spirit. Language, science, society, health and art are integrated through drama to establish connections among the various disciplines. However, it is very important for children to walk between the worlds of reality and fiction through drama, interact with body and mind, and construct a complete experience. To achieve maximum integration of body and mind that is based on “education as growth” as in Dewey’s Experience and Education (1938), Growing Drama, a new integrated paradigm, maintains that the drama education of young children drama follow their drama experience construction.

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Hesse, Douglas. "EJ in Focus: Imagining a Place for Creative Nonfiction." English Journal 99, no. 2 (November 1, 2009): 18–24. http://dx.doi.org/10.58680/ej20099160.

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Andersen, Mads Møller, and Vilde Schanke Sundet. "Producing Online Youth Fiction in a Nordic Public Service Context." Public Service Broadcasting in the Digital Age 8, no. 16 (December 19, 2019): 110. http://dx.doi.org/10.18146/2213-0969.2019.jethc179.

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This article investigates the conditions for making online youth fiction in a public service context at a time when young people increasingly are abandoning both legacy mass media and linear flow television to consume and share content online. The article’s starting point is the production of online youth fiction in two Nordic public service institutions, the Norwegian NRK and the Danish DR, and it discusses how digitisation and new competitors present both challenges and opportunities for institutions such as these. Furthermore, the article discusses the organisation of online youth fiction in both institutions and investigates how organisational strategies and production cultures come into play in each of these broadcasters’ early signature youth series: the widely popular online teen drama SKAM (NRK, 2015-2017) and the far less known youth series Anton 90 (DR, 2015). Our findings show that it was the pressure imposed by digitisation and new competitors that led these institutions to take new risks with their youth fiction production, changing their production patterns to make short-form drama series tailored to online streaming, and ultimately treating online youth fiction as a distinctly different task than “regular” fiction.

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Lijuan, Song. "The Story of Diaochan: From Chinese fiction to English drama — on the Romance of the Three Kingdoms and G.G. Alexander’s Teaou-Shin." MING QING YANJIU 19, no. 01 (February 14, 2015): 87–110. http://dx.doi.org/10.1163/24684791-01901005.

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This is a descriptive case study which attempts to explain how the story of Diaochan 貂蟬, the famous episode in Romance of the Three Kingdoms, gained its afterlife in the western milieu by being translated and rewritten. This article focuses on the analysis of G.G. Alexander’s Teaou-shin, A Drama from the Chinese, in five Acts, and proposes that during the transformation of a Chinese fictional script to an English theatrical text, the themes and spiritual entity of the story were shifted in order to appeal to the European audiences in the nineteenth century. Furthermore, it argues that the differences between Chinese fiction and English drama are generated from distinct literary genre as well as heterogeneous cultural background.

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Witerska, Kamila. "Creativity in Somebody Else's Shoes." Creativity. Theories – Research - Applications 2, no. 2 (November 1, 2015): 227–36. http://dx.doi.org/10.1515/ctra-2015-0022.

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Abstract The paper describes creativity in role context and how drama features and techniques can stimulate creative thinking. The first part of the article concerns the role of drama as a stimulator by encasing the participant in fiction. Aspects of development are also taken into account and the areas of differences in the use of drama at various stages of development, and thus at different stages of education are highlighted. The second part of the paper is devoted to drama techniques - heuristics based on taking on a role. The last part of the article describes how drama stimulates the process of solving problems and delineates its specificity.

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Bradby, David, Beckett, James Acheson, and Kateryna Arthur. "Beckett's Later Fiction and Drama: Texts for Company." Modern Language Review 84, no. 1 (January 1989): 188. http://dx.doi.org/10.2307/3732014.

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Asanga, Siga, and Elena Zubkova Bertoncini. "Outline of Swahili Literature: Prose Fiction and Drama." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 24, no. 2 (1990): 268. http://dx.doi.org/10.2307/485263.

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Frost, Everett C., Enoch Brater, and Anna McMullan. "The Drama in the Text: Beckett's Late Fiction." Theatre Journal 47, no. 2 (May 1995): 325. http://dx.doi.org/10.2307/3208507.

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Barker, Stephen. "The Drama in the Text: Beckett's Late Fiction." MFS Modern Fiction Studies 40, no. 4 (1994): 901–5. http://dx.doi.org/10.1353/mfs.1994.0015.

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Bekhta, Natalya. "Unnatural Narrative: Impossible Worlds in Fiction and Drama." Zeitschrift für Anglistik und Amerikanistik 67, no. 1 (March 26, 2019): 91–96. http://dx.doi.org/10.1515/zaa-2019-0007.

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Nelson, M. J., M. Mateas, D. L. Roberts, and C. L. Isbell. "Declarative optimization-based drama management in interactive fiction." IEEE Computer Graphics and Applications 26, no. 3 (May 2006): 32–41. http://dx.doi.org/10.1109/mcg.2006.55.

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Colăcel, Onoriu. "Edibles and Other Offerings to Readers: The Politics of Gender and Food in Narrative Fiction." Messages, Sages and Ages 3, no. 2 (November 1, 2016): 70–74. http://dx.doi.org/10.1515/msas-2016-0017.

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Abstract From the perspective of an apparently absent author, the rhetorical commonplaces of womanhood and nourishment are mentioned in the novels of Margaret Atwood, The Edible Woman (1969), and of Jillian Medoff, Hunger Point (2002). Although traditionally relegated to contextualizing devices, the unfolding of events makes a riddle out of cooking and eating for the purpose of dramatic effect. Reporting on what might come across as domestic chores points to the topicality of food intake as well as to all the drama eating disorders entail. In the background of events, the ‘whodunit’ and the ‘kitchen sink drama’ come together into one unlikely story. The benefits of hindsight make it possible to argue that celebrated feminist novels of the past century, i.e. The Edible Woman, provided later 21st century fiction, i.e. Hunger Point, with something more than narrative emphasis on binary gender relations. I find that the gender-roles debate, as recorded in Atwood’s work, gained enough cultural momentum to prove the ready availability of the image of the nurturing female throughout the 20th century and beyond. As far as feminist fictions are concerned, over/under-feeding is always somewhere in the background, if not what drives the plot forward. Commonly, distress among fictional characters, mostly women, is linked to body weight and dieting in ways that threaten to relegate, possibly once and for good, the notions of women and food to the realm of melodrama, as it is the case with Hunger point.

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Estoque, Eileen Itabag. "The Filipino Millennial and the Korean Drama Fad." Journal of Humanities and Social Sciences Studies 4, no. 2 (May 19, 2022): 110–26. http://dx.doi.org/10.32996/jhsss.2022.4.2.15.

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This quantitative-qualitative study ascertained the extent of influence of the Korean Drama Fad on the Filipino Millennials’cultural practices and beliefs. A researcher-madeSelf-Assessment Checklist was used to gather the quantitative data among 356 randomly selected respondents, while the qualitative data were drawn from an Interview among 8 participants. Results revealed that overall, the Korean drama fad was moderately influential. However, this was very influential, moderately influential, and slightly influential when respondents were categorized according to sex, college, campus, and degree of exposure, respectively. Significant differences existed in the extent of influence of the Korean drama fad when respondents were categorized according to sex, campus, and degree of exposure, but no significant differences were noted when classified according to college. Reasons for watching K-dramas include relaxation and entertainment, stress reliever, a form of escape from their problems, exciting stories, and unpredictable plot, characters are easy to relate and identify with, and the presence of fascinating actors and actresses. Further, the K-dramas was appealing because the stories are true-to-life with the varying genre--love story, modern romance, comedy, historical fiction, and action-drama. Insights and lessons cited were being prepared to face the future; being strong and more positive in facing life's challenges; loving unconditionally; learning to be more careful before totally trusting others; having knowledge and awareness of what is trending when it comes to fashion styles, beauty standards, verbal and non-verbal expressions, behavior, and lifestyle of Koreans in general.

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Rody, Caroline. "Between “I” and “We”: Viet Thanh Nguyen's Interethnic Multitudes." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 396–405. http://dx.doi.org/10.1632/pmla.2018.133.2.396.

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The rise of an interethnic imagination in recent american literature has been remaking what we think of as ethnic fiction into interethnic fiction. While memory, history, and tradition continue as shaping forces in American letters, an urge toward encounter with others is vividly reworking fictional structures, plots, casts of characters, and uses of language, as well as social visions, literary ambitions, and currents of intertextual influence. In some cases, the mind of a protagonist or narrator, indeed the very mind of a text, comes to seem the site of a momentous encounter of peoples, a living human nexus (Rody). Such is the case in the fiction of Viet Thanh Nguyen, in which the interethnic impulse generates a remarkable pronominal drama, a performance that oscillates between a narratorial “I” and a “we” to negotiate—across the pain and struggle of war, dislocation, and immigrant Americanization and across disparate political and literary allegiances—a Vietnamese American voice.

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Filewod, Alan. "The Hand that Feeds." Canadian Theatre Review 51 (June 1987): 9–16. http://dx.doi.org/10.3138/ctr.51.002.

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By the time this article appears in print, the two winners (in English and French) of the 1986 Governor General’s Award for Drama will have been announced; but as I write this the juries have not yet met to select a short list of candidates. Late in the spring the Canada Council will plant a discreet notice in the media announcing the finalists in each of the prize’s four categories (fiction, non-fiction, poetry, and drama), and about a month later a second terse announcement will name the winners. The official gaze of Canadian culture will fix momentarily on literature, blink and pass on to things that really matter. Like Pay-TV.

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Rajendran, Charlene. "Becoming a FaciliActor: Playing at fiction on the borderlines of culture." Applied Theatre Research 8, no. 2 (November 1, 2020): 245–57. http://dx.doi.org/10.1386/atr_00041_1.

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This article interrogates the idea of the drama educator as a FaciliActor within the sociocultural and political context of Singapore, drawing on Jacques Ranciere’s (2015) notions of fiction and dissensus to examine how the FaciliActor can expand the potential of play-based embodied learning. The term FaciliActor, coined to combine facilitator and actor capacities, and thereby emphasize the acting skills involved in facilitating a dynamic drama process, points to imaginative options that drama educators negotiate when planning and executing their roles. In particular, it highlights an educator’s ability to play with experimental options and trust the ingenuity of imagination that prods a review of what is. This includes having theatrical presence, which commands attention and invites response. Given the escalating tensions of cultural difference in plural societies, the growing need for dialogic pedagogies that develop twenty-first century competencies such as critical thinking, empathy and self-awareness points to the FaciliActor as well placed to do this through play-based and creative frameworks that allow multiple perspectives. I consider how the FaciliActor can expand dialogic options for participants when creating and facilitating a drama process, and suggest that it is useful to engage with an ‘actor’s dramaturgy’ (Barba 2010) to gain critical skills when performing.

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Nyberg, Crister. "Fiction in Drama Education Offers Learning Opportunities for All - Philosophical Perspectives in Drama Education." European Journal of Social and Behavioural Sciences 14, no. 3 (August 30, 2015): 1929–37. http://dx.doi.org/10.15405/ejsbs.174.

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43

Engelberts, Matthijs. "Beckett’s Prose Fiction and Waiting for Godot." Samuel Beckett Today / Aujourd'hui 35, no. 2 (October 19, 2023): 161–76. http://dx.doi.org/10.1163/18757405-03502006.

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Abstract Waiting for Godot is not often presented as homologous with Beckett’s narrative fiction. However, a close consideration of the status of the boy(s) in the play shows that the drama text undermines the dichotomy between inner and outer world, which Beckett was addressing in comparable ways in his novels and art criticism.

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Adams, Dale. "„Die Wirklichkeit ist die Unwahrscheinlichkeit, die eingetreten ist“: Wahrscheinlichkeit, Wirklichkeit und Wahrheit im Werk Friedrich Dürrenmatts." Seminar: A Journal of Germanic Studies 59, no. 4 (November 1, 2023): 315–38. http://dx.doi.org/10.3138/seminar.59.4.1.

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This paper examines the role of probability in the thought and work of the Swiss writer Friedrich Dürrenmatt (1921–1990), focusing on his definition of reality as the improbability which occurred. I argue that this expression encapsulates his lifelong critical investigation of the possibilities and limitations of the representation of the modern world. The polyvalent concept of probability serves Dürrenmatt in his essays, drama, and prose fiction to illuminate the irreducible complexity of reality, the inevitable constraints of human perception, and the futility of seeking to reconstruct empirical causality end-to-end. The concept of reality as an improbability which occurred defines both the empirical reality which Dürrenmatt seeks to analyze through his fiction, as well as the subjective reality he creates within his “fictional worlds,” thus forming a crucial conjunction between his worldview and his literary work.

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Holder, A. S. "Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction." Journal of American History 100, no. 1 (June 1, 2013): 223. http://dx.doi.org/10.1093/jahist/jat093.

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Haan, Arjan de. "Aid: The Drama, the Fiction, and Does it Work?" Indian Journal of Human Development 4, no. 2 (July 2010): 233–52. http://dx.doi.org/10.1177/0973703020100202.

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Sharma, Manu, Santiago Ontañón, Manish Mehta, and Ashwin Ram. "DRAMA MANAGEMENT AND PLAYER MODELING FOR INTERACTIVE FICTION GAMES." Computational Intelligence 26, no. 2 (May 2010): 183–211. http://dx.doi.org/10.1111/j.1467-8640.2010.00355.x.

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48

Bennis, Mohammed. "Demystifying the Absurd in Samuel Beckett's Fiction and Drama." International Journal of Language and Literary Studies 5, no. 2 (July 15, 2023): 147–58. http://dx.doi.org/10.36892/ijlls.v5i2.1276.

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Understanding the philosophy of the Absurd has always solicited the attention of modern and post- modern critics, scholars and researchers. The Absurd remains one of the most inscrutable concepts that both philosophy and literature have produced ever. The Absurd as a vision of life came at a time when Western societies were experiencing a transitional juncture in terms of social, cultural, philosophical, political and technological changes. These societies were progressively shifting from traditional values of conservatism and uniformism that were essential characteristics of the first half of the Twentieth Century to a more experimental and avant-gardist culture that defines most of modernist and post-modernist contexts. Writers of the period reflected the mood of the age which hinged on an outspoken need for change that would meet the aspirations of younger generations. However, the change writers were seeking was thwarted by the looming shadow of the philosophy of the Absurd which incarnated a deep feeling of loss of faith, pessimism and belief in the futility of human existence that finds its sustainabiliy in the meaninglessness of man’s endeavour to impart meaning to life. Absurdists problemized human actions and convictions, believing that they would lead to no avail as they are mere abstract notions devoid of any substantial significance or viability. I have always been struck by the similarity between the Absurd and cyberspace which is a defining marker of the 21th Century digital technology. Both breed virtual and abstract spaces : one on the stage and the other on digital tools’ screens. I even argue that William Gibson’s seminal defintion of cyberspace could be applicable to the Absurd as both a concept and a literary genre. Gibson defines cyberspace as « a consensual hallucination experienced by billions of legitimate operators… » (Gibson, 1984). Indeed, the phrase « consensual hallucination » finds relevance in the literary works of the Absurd, especially Samuel Beckett’s novels and plays which squarely dramatize the nothingness of human beliefs, values and convictions which are represented as sheer hallucinations and abstractions that humans consent to take for granted. Beckett’s philosophy of the Absurd will be examined through his « deformalization » of literary genre, deconstruction of language and disembodiment of the individual self.

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McMurtry, Leslie. "Dark night of the soul: Applicability of theory in comics and radio through the scripted podcast drama." Studies in Comics 10, no. 2 (November 1, 2019): 235–54. http://dx.doi.org/10.1386/stic_00004_1.

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Abstract This article responds to McCloud's theoretical framework for comics and applies this framework to audio drama, which I argue is, like comics, a mono-sensory medium (one can only be seen in static image and the other can only be heard); both require a great degree of closure from the audience to frame together sequential narratives (of visual art and sound, respectively). To do this, it uses the case study of Marvel and Stitcher's Wolverine: The Long Night (2018), a 'scripted podcast' (audio drama). While comics are escaping from decades of critical disregard due to their status as a popular or lowbrow medium, radio and by extension audio drama still suffer from critical neglect. It is, therefore, one of the aims of the article to release audio drama theory from torpor by applying theory from comics. W:TLN has been chosen as a case study due to its status as a made-for-podcast story rather than an adaptation from an existing comic book; it also responds to trends within audio drama towards a non-fiction/fiction amalgamation influenced by true crime podcast conventions. This article argues that W:TLN's understanding of audio/radio as a mono-sensory medium is overdetermined in its use of blindness, darkness and radiogenics. It also discusses the ways in which comics and audio drama use time and space. The article also examines the reasons why the podcast medium has been deemed acceptable within the wider Marvel Comics Universe and the ways in which W:TLN responds to implied continuity through a transmedia conception of character attributes (e.g., how the continuity of the X-Men films influences the story and characters in W:TLN).

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Thompson, Jacqueline M., Ben Teasdale, Sophie Duncan, Evert van Emde Boas, Felix Budelmann, Laurie Maguire, and Robin I. M. Dunbar. "Individual Differences in Transportation into Narrative Drama." Review of General Psychology 22, no. 2 (June 2018): 210–19. http://dx.doi.org/10.1037/gpr0000130.

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Transportation, the experience of feeling “transported” into a fictional world, differs widely across individuals. We examined transportation in 3 studies. Study 1 investigated links between individual differences in various measures of audience response, whereas the latter 2 studies examined links between trait measures (independent variables) and audience response (dependent variables). Study 1 found that individual differences in self-reported transportation to a film explained variation in virtually all other dependent measures, such as identification with characters, emotion, and attribution of blame for the protagonist's struggles. Group bonding after watching the film was nonlinearly related to endorphin response (as measured by pain threshold), and transportation related to these variables as well (although more weakly). Study 2 found that individual differences in celebrity worship predicted transportation, as well as tendency to identify with the characters and approve of their behavior. Study 3 demonstrated that individual differences in trait measures of sensation seeking and empathy independently predicted viewers’ transportation in 2 very different film genres. Transportation measures for both films were highly correlated, suggesting that tendency to be transported may be less genre-specific than other dependent measures. Altogether, these results illustrate the usefulness of individual differences approaches in the psychological study of fiction.

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