Journal articles on the topic 'Drama – social aspects – history'
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1
Ahmad Rind, Dr Ayaz, Hafiz Muhammad Fiaz, and Shams Zoha Ali. "URDU-20 The Beginning of Saraiki Drama." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 3 (October 24, 2021): 219–28. http://dx.doi.org/10.53575/urdu.v5.03(21).219-228.
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Primarily the paper deals with the beginning, origin and evolution of Saraiki Drama. Drama is one of the important tools of expression in the society and it reflects the socio-cultural and political aspects of the society since from the earlier time of the human history. The term drama started from the ancient Greece and it travelled in the entire world. It highlights the different social aspects humanity through a practical role rather than theoretical point of view. In this area of Indus civilization Drama started with the settlement of Ariyans. Saraiki Drama is also an old tradition and we find it here as other area of the humanity. This research explores and highlights the as the above mention topic Saraiki Drama its origin and evolution in different periods.
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Bekbenbetova, Kazyna, Gaukhar Baltabayeva, Ulbossyn Aimbetova, Kulshat Smagulova, and Rauan Kemerbay. "Social and philosophical research structures of drama and folk narratives: the manifestations of embodied world views." XLinguae 15, no. 1 (January 2022): 14–22. http://dx.doi.org/10.18355/xl.2022.15.01.02.
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The article analyzes the methodological potential of drama in modern socio-philosophical research. It is shown that the theoretical reconstruction of the drama model allows us to talk about the dramatic approach in the study and explanation of society, and the morphological analysis of the structure reveals its methodological potential for studying crises in society. Our focus is on the socio-philosophical study of drama. The subject allowed us to appreciate philosophy’s complex, contradictory nature and history with its gains and losses. It also overcomes simplistic and excessive ideologization in the interpretation of the intellectual process of European culture. Our analysis of the concept of drama reveals the differences between the concept of social dramatization and the dramatic approach of I. We examine Hoffman’s approach describing the analysis’s main stages, which is necessary to positively answer whether drama has all the aspects of social dramatization in its invariant structure.
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Weerakkody, Iranga Samindani. "The Maraa-Ipaddima Ritual Drama in Sri Lanka." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 65–82. http://dx.doi.org/10.30819/aemr.9-5.
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This article aims to study the ethnomusicological characteristics/expressions of a ritual drama in Sri Lanka that has lacked comprehensive research conducted about it so far; the Maraa-Ipaddima (Killing and Resurrection) ritual drama. This ritual drama is performed in reverence to the Goddess Pattini, who holds a special place in Sri Lankan culture and society for personal and social well-being such as fertility, health, and protection. The study employs a qualitative research method using both primary and secondary sources. The data has been collected through field observations, structured and semi-structured interviews, case study analysis, and literature reviewing. Study outcomes show that the ethnomusicological aspects of the ritual drama are expressed through kavi (poetic verses) sung while performing drama, traditional musical instruments, costumes, dance, and harmony. The study helped to understand the ethnomusicological expression of ritual drama performed, and it is also evident that the musical expressions performed in the ritual drama also work as a treatment in the collective healing of people (catharsis).
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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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Adhikari, Bishwo Raj. "Sexual Games of Power and Status in Edward Albee’s Who’s Afraid of Virginia Woolf ?" Janapriya Journal of Interdisciplinary Studies 11, no. 1 (December 31, 2022): 1–9. http://dx.doi.org/10.3126/jjis.v11i1.53905.
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This article explores the use of sexuality as a tool to achieve power and status by the characters in Edward Albee's drama Who's Afraid of Virginia Woolf? In this drama, the characters ignore the values of marriage, love, and sex in order to dominate others or control the situation for their intended goal. Reading Michel Foucault's discursive nature of power based on his work The History of Sexuality, Vol. 1: An Introduction, this study has justified the characters use of trivial sexual games and their motives to obtain power and status in a highly intellectual society. The characters of Albee's drama are prone to exercise power using their own sexuality. Negotiating and subverting the roles of gender and sexuality in private/public sexual games, they frequently foreground to fulfill personal desire in the existing social milieu. To unveil these aspects, this article has interpreted Albee’s drama with the theoretical dimension of power and sexuality postulated by Foucault, and has applied the content analysis method.
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Binder, Werner. "The drama of politics." Thesis Eleven 142, no. 1 (September 3, 2017): 112–29. http://dx.doi.org/10.1177/0725513617727904.
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The concept of social performance is a major theoretical innovation of the strong program in cultural sociology, championed by Jeffrey C. Alexander. This article offers a critical assessment of Alexander’s last four monographs on political performances with the explicit aim of contributing to the future development of the performance approach. After an outline of Alexander’s theory of performance, I continue to discuss his book-length empirical contributions, highlighting the innovations introduced by each study. Confronting Alexander’s research strategies with his theoretical framework, I propose a recalibration of his ‘liberal’ sociology of performance, bringing ‘conservative’ aspects of political culture back in, first of all particularity and historicity. This entails a rethinking of performance effects in terms of ‘resonances’ attuned to particular audiences and a deeper hermeneutic engagement with specific historical backgrounds of collective representations in order to overcome the one-sidedness of Alexander’s constructivist approach.
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Domingues, Petrônio José. "Elite da Liberdade: a contribution to the history of black clubs in Brazil." Brasiliana: Journal for Brazilian Studies 9, no. 1 (September 5, 2020): 396–411. http://dx.doi.org/10.25160/bjbs.v9i1.114909.
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This article investigates the trajectory of the Grêmio Dramático, Recreativo e Literário Elite da Liberdade (the Liberdade Elite Guild of Drama, Recreation, and Literature), a black club active in São Paulo, Brazil, from 1919 to 1927. The aim is to reconstruct aspects of the club’s history in light of its educational discourse on civility, which was used as a strategy to promote modern virtues in the black milieu. By appropriating the precepts of civility, Elite da Liberdade helped construct a positive black identity, enabled the creation of bonds of solidarity among its members, and made itself a place of resistance and struggle for social inclusion, recognition, and citizens’ rights.
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Baek, Soyoun. "The Meaning and Limitations of Family in Thirty-nine(2022), a Television Drama." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 415–27. http://dx.doi.org/10.33645/cnc.2023.12.45.12.415.
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The purpose of this study is to analyze the aspects, meanings, and limitations of the family in the television drama Thirty, Nine. In Korean society, the framework of “normal family” became a standard for discriminating against the forms of family that did not meet this, but recent changes in social perceptions are reflected in the aspects of family in television dramas. Thirty, Nine presents care and intimacy as the standard of a new family. It is emphasized that the family does not consist solely of blood ties by dealing with the issue of adoption. This work divides the good and bad composition of characters based on their perceptions and attitudes toward the family and omits specific conflict situations. It also distorts the real reality in that commitment to each other is mainly based on strong economic power and time. In addition, the main characters choose marriage based on heterosexual relationships at the end. It deals with the problem of adoption within this typical family structure of parents and children. This shows that various imaginations of the family are not fully realized in television dramas.
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Delmanto, Ivan. "A dedirrósea aurora: feminismo e totalidade histórica em Vai raiar o sol, de Júlia Lopes de Almeida / The Dawn of Pink Fingers: Feminism and Historical Totality in Vai raiar o sol, by Júlia Lopes de Almeida." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 3 (September 3, 2019): 137. http://dx.doi.org/10.17851/2358-9787.28.3.137-162.
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Resumo: A análise de um texto de Júlia Lopes de Almeida, que permaneceu inédito e desconhecido por muito tempo, procura tornar visível o papel desempenhado pelas mulheres na história da dramaturgia brasileira, buscando contribuir não só para recuperar uma parte das inúmeras vozes emudecidas pela historiografia oficial, mas também para mostrar que, a despeito de a organização social da produção teatral ter excluído sistematicamente através dos séculos a participação das mulheres, há contribuições decisivas de dramaturgas brasileiras na história de nossa formação negativa. Mais do que isso, procuraremos demonstrar que Vai raiar o sol expressa, por meio do deslocamento de diversos procedimentos que marcam o modelo hegemônico do drama burguês, aspectos históricos importantes da situação das mulheres trabalhadoras durante o longo século XX brasileiro.Palavras-chave: Dramaturgia; teatro brasileiro; teoria crítica.Abstract: The analysis of a text written by Júlia Lopes de Almeida, which remained unpublished and unknown for a long time, seeks to represent the role played by women in Brazilian dramaturgy history, contributing not only to recover a part of the countless voices muted by official historiography, but also to show that there are decisive contributions by Brazilian playwrights in the history of our negative formation. Such contributions occurred despite the fact that the social organization of theatrical production has systematically excluded the participation of women over the centuries. Furthermore, we will try to demonstrate that Vai raiar o sol expresses, through the displacement of several procedures that mark the hegemonic model of bourgeois drama, important historical aspects of the situation of working women during the long Brazilian twentieth century.Keywords: Dramaturgy; Brazilian theater; critical theory.
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Taghavi, Leila. "Dramatic Elements of “Qanbar’s Elegy” Ritual in Fasa, Iran." Environment Conservation Journal 16, SE (December 5, 2015): 139–44. http://dx.doi.org/10.36953/ecj.2015.se1615.
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Theory of the origin of ritual theater is still the most credible theory on the development of drama in the world. Rituals in terms of function, construction and even implementation are very close to drama, so that at times they cannot be clearly separated. Now the question is that what are the dramatic elements of the “Qanbar’s Elegy” ritual in Fasa, Iran? The present study answered the question by referring to the history of the world and Iran. The rituals are a form of knowledge and a means of recording events and sanctities. Since the Ta’zieh of Qanbar’s Elegy unites the audience, who are also the actors, through a social and creative activity, and equalizes the individual truth of the participants with the cosmic truth, it could have the required elements of play; elements such as location, performers, dramatic movement and the audience. The present research paper has tried to review the dramatic aspects of Qanbar’s Elegy ritual in the city of Fasa in a descriptive analytical way.
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Vizgin, Vladimir P. "Socio-Cultural Aspects of the Standard Model in Elementary Particles Physics and the History of Its Creation." Epistemology & Philosophy of Science 57, no. 3 (2020): 160–75. http://dx.doi.org/10.5840/eps202057348.
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The article соnsiders the socio-cultural aspects of the standard model (SM) in elementary particle physics and history of its creation. SM is a quantum field gauge theory of electromagnetic, weak and strong interactions, which is the basis of the modern theory of elementary particles. The process of its elaboration covers a twenty-year period: from 1954 (the concept of gauge fields by C. Yang and R. Mills) to the early 1970s., when the construction of renormalized quantum chromodynamics and electroweak theory wеre completed. The socio-cultural aspects of SM are explored on the basis of a quasi-empirical approach, by studying the texts of its creators and participants in the relevant events. We note also the important role of such an “external” factor as large-scale state projects on the creation of nuclear and thermonuclear weapons, which provided personnel and financial support for fundamental research in the field of nuclear physics and elementary particle physics (the implementation of thermonuclear projects took place just in the 1950s, and most of the theorists associated with the creation of SM were simultaneously the main developers of thermonuclear weapons, especially in the USSR). The formation of SM is considered as a competition between two research programs (paradigms) – gauge-field and phenomenological, associated with the rejection of the field concept. The split of the scientific community of physicists associated with this competition is going on during this period. It’s accompanied by a kind of “negotiations”, which in the early 1970s lead to the triumph of the gauge field program and the restoration of the unity of the scientific community. The norms and rules of the scientific ethos played the regulatory role in this process. The scientific-realistic position of the metaphysical attitudes of the majority of theorists and their negative attitude to the concepts of philosophical relativism and social construction of scientific knowledge are emphasized. Some features of the history of SM creation are also noted, such as the positive role of aesthetic judgments; “scientific-school” form of research (in the USSR), its pros and cons; a connection to historical-scientific “drama of ideas” with “dramas of people” who made a wrong choice and (or) “missed their opportunities”.
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Kabilova, Elena S. "THE NATURE OF CONFLICT IN MODERN DRAMATURGY ABOUT TEENAGERS." Челябинский гуманитарий 66, no. 1 (May 3, 2024): 56–62. http://dx.doi.org/10.47475/1999-5407-2024-66-1-56-62.
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The article considers the nature of conflict in plays about teenagers written between 2013 and 2020 and awarded at various contemporary drama competitions. Article contains a brief historical excursion that provides the history of the development of domestic teenage drama, the audience of which began with children and teenagers and then expanded to an adult audience. The author comes to the conclusion that in the newest play about teenagers the influence of the “new new drama” of the turn of the 20th – 21st centuries is felt in the following aspects: adult themes come into play about children; conflicts in the plays reflect the most pressing social, cultural and spiritual problems of society; the basis of a dramatic conflict is determined by an identity crisis; the source of many conflict situations is the actions of adults that violate the harmonious world order. The teenage hero, as a rule, comes into a social conflict (a collision with social Others) with peers, adults, and anonymous Internet users. In monodramatic plays we see the hero’s conflict with himself as the Other, while the hero’s speech becomes the space for the realization of the dramatic conflict. The plays reflecting the communication of teenagers on the Internet show the conflict of the heroes with the present. The plays reflecting school conflicts show that the school community is losing the unifying force that helps resolve conflicts, and the teacher ceases to be a leader of the team. The teenage hero has to cope with crises completely alone, since there is a gap between the world of children and the world of adults. There is a tendency to create plays with the plot of formation, when the hero undergoes trials and gains experience.
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Bratton, Jacky. "Working in the Margin: Women in Theatre History." New Theatre Quarterly 10, no. 38 (May 1994): 122–31. http://dx.doi.org/10.1017/s0266464x00000294.
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This is the text – appropriately, a ‘performance text’ – of the inaugural lecture delivered at Royal Holloway College, University of London, on 9 March 1993, by Jacky Bratton, following her appointment as Professor of Theatre and Cultural History. Although she holds her chair at a former women's college, Jacky Bratton reflects that the introduction of co-education in such institutions has in practice left them as male-dominated as the rest. Ironically, this continued marginalizing of women in academic life reflects the common view of theatre studies as itself a marginal discipline – almost as suspect as Jacky Bratton's own specialist concern with its more popular aspects. Looking at the ways in which women have been marginalized within theatre history, she challenges in particular the received wisdom that the alleged ‘decline of the drama’ in the nineteenth century was reversed by a striving for respectability usually traced to the rattle of cups-and-saucers on box sets, and apotheosized in Irving's knighthood: instead, she reflects upon the radical impulses of earlier nineteenth-century theatre, and at the ways in which the gender of three women who worked within it influenced their theatrical careers, their social standing, and their own attitudes towards both.
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Jung, Yoonhee. "Aspects of Korean culture-bound lexis translation in the Netflix K-Drama “Squid Game”." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 65–80. http://dx.doi.org/10.33645/cnc.2023.10.45.10.65.
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The purpose of this paper is to examine the translation of Korean culture-bound lexis into English, identify any translation problems that arise, and discuss the preferred direction for translation. In order to achieve this goal, the focus was placed on <Squid Game>, which is released through Netflix's official channel, and extracted 40 Korean culture-bound lexis for analysis and the translation aspects of these lexis into English were divided into seven strategies. As a result, indirect translation strategies were frequently employed instead of direct translations. In such cases, various techniques such as transposition, modulation, equivalence and adaptation were utilized, particularly when significant cultural differences existed in terms of material, social, and linguistic culture. Through this, it was confirmed that the indirect translation strategy for domestification is mainly used in media translation. In an era when Korean culture is gaining global recognition through diverse media platforms, this study aims to provide valuable insight into translating culture-bound lexis that accurately reflect the core values and unique characteristics of Korean culture.
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Norwood, Janice. "Picturing Nineteenth-Century Female Theatre Managers: the Iconology of Eliza Vestris and Sara Lane." New Theatre Quarterly 33, no. 1 (January 10, 2017): 3–21. http://dx.doi.org/10.1017/s0266464x16000592.
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Lucia Elizabeth Vestris (1797–1856) and Sara Lane (1822–99) were two pioneering women in nineteenth-century theatre history. Both were accomplished singers who made their names initially in comic and breeches roles and, during periods when theatrical management was almost exclusively confined to men, both ran successful theatre companies in London. Despite these parallels in their professional activities, there are substantial disparities in the scrutiny to which their personal lives were subjected and in how their contemporaries and posterity have memorialized them. In this article, Janice Norwood examines a range of portraits and cartoons of the two women, revealing how the images created and reflected the women's public identities, as well as recording changes in aesthetic practice and social attitudes. She argues that the women's iconology was fundamentally shaped by the contemporary discourse of gender difference. Janice Norwood is Senior Lecturer in English Literature, Drama, and Theatre Studies at the University of Hertfordshire. She has published on various aspects of nineteenth-century theatre history and edited a volume on Vestris for the Lives of Shakespearian Actors series (London: Pickering and Chatto, 2011).
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Whiteley, Giles. "HENRY LONGUEVILLE MANSEL'S PHONTISTERION (1852)." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 485–514. http://dx.doi.org/10.1017/s1060150318000104.
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Established in 1859, as a merger of the Whigs, Radicals and Peelites, the British Liberal Party and their ideological forerunners won 15 out of a total of 20 parliamentary elections between 1832–1910. Responsible for passing socially progressive legislation domestically, Victorian liberalism can lay claim to being the most significant political ideology of the period. By bringing together aspects of classical social liberalism and liberal free-market conservatism, this specifically Victorian brand of liberalism enabled Britain to take a place at the center of world affairs. Indeed, by the mid-1850s, the emergence of Victorian liberalism had begun to be seen as something of a political necessity, as demonstrated by Thomas Babington Macaulay's The History of England from the Accession of James II (1848–61), a foundational text of Whig historicism, in which Lord Charles Grey's 1832 Reform Bill was characterized as the teleological culmination of British history. But while the liberals styled themselves as progressives and their opponents as reactionaries, Whig history has tended to oversimplify the dynamics of this narrative. In this context, Henry Longueville Mansel's closet drama Phontisterion offers a fascinating glimpse into a contemporary Tory response to the seemingly irresistible rise of Victorian liberalism.
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Vereshchahina-Biliavska, Olena, Irina Mazur, Olesia Cherkashyna, Olena Burska, and Tetiana Hrinchenko. "Semantic aspects of musical language." Convergences - Journal of Research and Arts Education 16, no. 32 (November 30, 2023): 139–51. http://dx.doi.org/10.53681/c1514225187514391s.32.231.
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Music is a multifaceted phenomenon: it carries the mission of aesthetic education and enlightenment, performs therapeutic functions and is not only a source of information, but also the subject of filling human consciousness with a sense of joy, drama, and a high spiritual beginning. All the above is provided due to the many components that constitute the whole picture of musical art. These include intonation and rhythm, tempo and dynamics, timbre and texture, and more voluminous components: genre and form. Each of its elements represents a certain category, which, in turn, carries a semantic load or semantic aspect belonging to it. Having a centuries-old history of existence, music and, accordingly, its components have undergone considerable evolution. The purpose of the study is to show the semantic aspects of musical language as an integral system in their continuous dynamics of development, updating, and complication of content. The history of sound creativity is a vivid picture of styles and techniques of writing, images, and themes inherent in a particular era. The above is inextricably linked with the deep evolution of semantic aspects that convey the content and importance of all the leading categories of music. They represent, regardless of the period, an integral system of elements, the transformation of which is discussed in this article. The definition of the boundaries of "evolution" in relation to music, the disclosure of its action at various levels (the evolution of musical thinking, the evolution of national style, artistic area, the evolution of individual compositional style), the development of the theory of evolution in the field of functioning of musical phenomena – these and other problems are priorities for modern scientific musicology and art criticism. Realising the complexity and globality of the problem posed, the basis of which is the consideration of musical phenomena in the aspect of the theory of evolution, this article includes one of the possible approaches to solving this issue, involving the "general theory of systems" created in the 20th century. For that reason, this publication is relevant. It combines the most important theses of researchers investigating the problem of the semantics of the musical language in the context of such disciplines as pedagogy, quantum physics, medicine, social science. The study searches for the materials on the studied subject, their systematisation, and provides a panoramic display of the analysis of the semantic aspects of musical art. The author also shares the prospects of analysis of the mentioned phenomenon. The need for this research is conditioned by the essence of the subject, since it constantly changes, gets enriched with new qualities, actively responding to what is happening in real-time.
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Rogan, Eugene L. "Archival Resources and Research Institutions in Jordan." Middle East Studies Association Bulletin 23, no. 2 (December 1989): 169–79. http://dx.doi.org/10.1017/s0026318400021647.
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To Date, Jordan remains a country largely studied from without. A number of excellent monographs treating diverse aspects of the politics, economy, demography, and history of Jordan have come out in recent years, drawing primarily on the wealth of resources preserved in European, American, and, most recently, Israeli archives. The sources used strongly influence the selection of topics treated. Thus, one resulting bias is that Jordan is seldom studied in its own right; rather, scholars have concentrated on its history under British mandatory rule, or as a player in the Arab-Israeli drama. Consequently, the dynamics of Jordanian structures—social, economic, and political—are either cursorily reviewed or presented as apprehended by travelers, political officers, or intelligence agents. In view of the relative ease of conducting research in Jordan, and the availability of diverse primary sources, the study of Jordan from within is to be encouraged. Towards this end, the following is intended to serve as an introduction to conducting research in Jordan, and as a survey of primary sources and research centers of value to the study of Jordan and the Middle East in general.
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Stroescu, Diana. "Insuportabila versatilitate a modernismului." Swedish Journal of Romanian Studies 5, no. 1 (May 15, 2022): 23–40. http://dx.doi.org/10.35824/sjrs.v5i1.23875.
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This article aims to investigate the specifics of modernism by identifying several critical moments in intellectual history that are symptoms of significant tendencies in Western literature. In the absence of viable delimitations that would give modernism the status of a literary movement, the specificity of this literary-artistic period can be depicted by dwelling in the field of ideas that shaped a common way of conceiving human existence. The issue of the newness, around which the idea of modernity is built, summarizes a whole socio-cultural process that involves attitudes moving between the fascination and the anxiety of change. Considering these two perspectives towards the metamorphoses of the age in which writers lived with enthusiasm or drama, one can identify a conception of the condition of knowledge in a developing world. The social aspects, the individual identity, the established moral and religious principles, and the possibilities of creation are subjected to interrogation and therefore cause the tensions that irrigate modernist works.
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Liesenberg, Cíntia, and Fernanda Elouise Budag. "Estrutura narrativa, subjetivação e memória social como expressões da crítica de mídia em Tempos de Paz." RuMoRes 17, no. 33 (September 11, 2023): 177–96. http://dx.doi.org/10.11606/issn.1982-677x.rum.2023.213111.
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Este artigo analisa Tempos de paz (2009), drama histórico brasileiro dirigido por Daniel Filho e baseado na peça teatral de Bosco Brasil. Partindo da temática da migração e da cidadania cultural, a construção narrativa inter-relaciona diferentes esferas de abordagem que, articuladas entre si, permitem a apreensão de sentidos da obra em torno da memória social, dos processos de sujeição e subjetivação, e do entrelaçamento entre os campos estético e político que a constituem; fazendo-nos, ainda, pensar sobre a substância humana. O desfecho é a escolha por um formato narrativo híbrido (em diálogo com o teatro) que culmina na validação da cena enunciativa maior que o filme busca exaltar: a homenagem a diferentes e grandes imigrantes que contribuíram para diferentes aspectos da cultura, pesquisa e conhecimento do país.
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Bird, Kym. "Performing Politics: Propaganda, Parody and a Women's Parliament." Theatre Research in Canada 13, no. 1 (January 1992): 168–93. http://dx.doi.org/10.3138/tric.13.1.168.
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The initial phase of women's drama in Canada coincides with the first wave of 19th-century Canadian feminism and the Canadian women's reform movement. At the time, a variety of women wrote and staged plays that grew out of their commitment to the political, ideological and social context of the movement. The 'Mock Parliament,' a form of theatrical parody in which men's and women's roles are reversed, was collectively created by different groups of suffragists in Manitoba, Ontario, Alberta and British Columbia. This article attempts to recuperate these works for a history of Canadian feminist theatre. It will argue that the 'dual' conservative and liberal ideology of the suffrage movement informs all aspects of the Mock Parliament. On the one hand, these plays critique the division of gender roles that material feminism wants to uphold; they are testimony to the strength of a woman's movement that knew how to work as equal players within traditionally structured political organizations. On the other hand, they betray the safe, moderate tactics of an upper and middle-class, white womanhood who wanted political representation but no structural social change. These opposing tensions are inherent in theatrical parody which is both imitative and critical.
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Brake, Mark, and Neil Hook. "Aliens and time in the machine age." International Journal of Astrobiology 5, no. 4 (October 2006): 277–86. http://dx.doi.org/10.1017/s1473550406003351.
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The 19th century saw sweeping changes for the development of astrobiology, both in the constituency of empirical science encroaching upon all aspects of life and in the evolution of ideas, with Lyell's Principles of Geology radically raising expectation of the true age of the Earth and the drama of Darwinism questioning biblically literalist accounts of natural history. This paper considers the popular culture spun on the crackling loom of the emergent aspects of astrobiology of the day: Edward Bulwer-Lytton's The Coming Race (1871), which foretold the race of the future, and satirist Samuel Butler's anticipation of machine intelligence, ‘Darwin Among the Machines’, in his Erewhon (1872). Finally, we look at the way Darwin, Huxley and natural selection travelled into space with French astronomer Camille Flammarion's immensely popular Récits de l'infini (Stories of Infinity, 1872), and the social Darwinism of H.G. Wells' The Time Machine (1895) and The War of the Worlds (1898). These works of popular culture presented an effective and inspiring communication of science; their crucial discourse was the reducible gap between the new worlds uncovered by science and exploration and the fantastic strange worlds of the imagination. As such they exemplify a way in which the culture and science of popular astrobiology can be fused.
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Niama, Haidyr Hashim. "IMPACT OF BRITISH LITERATURE ON GLOBAL LITERATURE." American Journal of Social Science and Education Innovations 6, no. 6 (June 1, 2024): 176–89. http://dx.doi.org/10.37547/tajssei/volume06issue06-24.
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The influence of British literature on global literature is enormous. In so many ways, British literature has influenced world literature. The Anglo-Saxon period established the British literature tradition, which continues to influence world literature today. In this blog post, we will look at various aspects of British literature's influence on global literature. The study of literary works from the United Kingdom and other countries around the world is known as British and world literature. It includes classic and contemporary works, often translated into English, that reflect regional and historical cultural and social norms. Individuals who study British and world literature gain insights into the historical, social, and cultural contexts in which the works were written. This allows for a better understanding of human experiences and the appreciation of different points of view. British literature composition is the process of creating written works in the English language that originate in or are related to the United Kingdom. This includes works written by British authors throughout history in the genres of fiction, poetry, drama, and nonfiction. Different literary movements, such as Medieval, Renaissance, Romanticism, and Postmodernism, have shaped the evolution of British literature composition. The composition of British literature has had a significant impact on the literary world and continues to inspire many contemporary writers.
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Piretti Brandão, Ramon Taniguchi. "O BRASIL E A CRENÇA NUM FUTURO QUE NUNCA SE REALIZA: reflexões sobre as formas de reconhecimento do sujeito brasileiro." InterEspaço: Revista de Geografia e Interdisciplinaridade 4, no. 13 (April 23, 2018): 119. http://dx.doi.org/10.18764/2446-6549.v4n13p119-138.
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BRAZIL AND THE BELIEF IN A FUTURE THAT NEVER TAKES PLACE: reflections about the forms of recognition of the Brazilian guyEL BRASIL Y LA CRENZA EN UN FUTURO QUE NUNCA SE REALIZA: reflexiones sobre las formas de reconocimiento del sujeto brasileñoO presente artigo trata das formas de reconhecimento através das quais o sujeito brasileiro se reconhece. Dentre os elementos que compõem essas formas, está a memória e o imaginário nacional. Veremos que, no Brasil, os mitos nacionais não ajudam a organizar, não têm um papel organizador da sociedade (como em outros países), mas, antes, são instrumentos de autoilusão. O drama do país, assim, jaz no contraste entre imaginário (ou sonho) e realidade. Entre aspiração (aquilo que gostaríamos de ser) e realização (aquilo que somos na prática). Ainda veremos que o aspecto social está totalmente desvinculado do aspecto político no Brasil (ao contrário do que vemos em países desenvolvidos).Palavras-chave: Brasil; Reconhecimento; História; Memória Nacional.ABSTRACTThis article deals with the forms of recognition through which the brazilian subject is recognized. Among the elements that make up these forms, they are memory and the national imagination. We see that in Brazil, the national myths do not help to organize, do not have an organizing role of society (as in other countries), but rather are self-delusion instruments. The country’s drama thus lies in the contrast between imaginary (or dream) and reality. Between aspiration (what we would like to be) and realization (what we are in practice). We will see that the social aspect is completely detached from the political aspect in Brazil (unlike what we see in developed countries).Keywords: Brazil; Recognition; History; National Memory.RESUMENEl presente artículo trata de las formas de reconocimiento a través de las cuales el sujeto brasileño se reconoce. Entre los elementos que componen esas formas, está la memoria y el imaginario nacional. Veremos que, en Brasil, los mitos nacionales no ayudan a organizar, no tienen un papel organizador de la sociedad (como en otros países), pero, antes, son instrumentos de auto ilusión. El drama del país, así, yace en el contraste entre imaginario (o sueño) y realidad. Entre aspiración (lo que nos gustaría ser) y realización (lo que somos en la práctica). Aún veremos que el aspecto social está totalmente desvinculado del aspecto político en Brasil (al contrario de lo que vemos en países desarrollados).Palabras clave: Brasil; Reconocimiento; Historia; Memoria Nacional.
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Hamrin-Dahl, Tina. "The philosophy of nature as a springboard into social realism: about Ibsen's Emperor and Galilean and a post-secular interpretation of the drama by Hilda Hellwig." Scripta Instituti Donneriani Aboensis 24 (January 1, 2012): 89–110. http://dx.doi.org/10.30674/scripta.67411.
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Friedrich von Schelling was a significant cultural influence when Henrik Ibsen lived in Germany in the 1850s. However, because of Schelling’s Naturphilosophie, which stood out as irreconcilable with the scientific philosophy of the positivists, Schelling came to be more and more neglected after the mid-nineteenth century. His pronounced idealism, belief in God, and metaphysical comments were branded ‘old-fashioned’ soon after his death. Today, Schelling is mentioned in contexts where ideas about ‘mindfulness’ are of importance. In 1979 a clinic for Mindfulness-Based Stress Reduction (MBSR) was founded and although originally articulated as an element of Buddhism, it is pointed out by committed practitioners that there is nothing inherently religious about mindfulness. It is however about integrating the healing aspects of Buddhist meditation practices with the concept of psychological awareness and healing. To a high degree in Western countries, psychotherapists have adapted and developed mindfulness techniques. When it comes to metaphysics, Schelling’s influence on the religious ideas that were accepted by Ibsen was never acknowledged. This text will throw some light upon Schelling as a source of inspiration for Ibsen and his milieu. Is it so, that Schelling’s ideas not until our ‘post-secular’ epoch have come into their own? Ibsen producers and actors are familiar with ‘New World Mindfulness’ and the history of mindfulness in the West.
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Berghaus, Günter. "The Futurist Banquet: Nouvelle Cuisine or Performance Art?" New Theatre Quarterly 17, no. 1 (February 2001): 3–17. http://dx.doi.org/10.1017/s0266464x00014287.
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The Futurist movement was not only an artistic but also a social and political force for innovation, conceived as a total and permanent revolution encompassing all aspects of human life. One such aspect was food. Banquets had been a highly developed performative art in the Italian Renaissance and were again placed in a theatrical framework by the Futurists after the First World War. They founded three night clubs, where food and drinks were served in Futurist fashion, and opened several restaurants dedicated to a renewal of Italian culinary habits. In the 1930s, the Futurists focused on the creation of a new lifestyle called aerovita, which included cooking and dining as paratheatrical arts. Many of the recipes (or rather scenarios) in the Futurist cookbook La cucina futurista of 1932 derived from banquets that Marinetti, the driving force of Futurism, had organized as a kind of savoury-olfactory-tactile theatre accompanied by music and poetry recitations. The highly imaginative table scenery and food sculptures were complemented by inventive lighting effects and an amazing mise en scéne of interior decor, furniture, and waiters' garb. This essay describes and analyzes some of the Futurist experiments with culinary theatre, the manifestos dedicated to Futurist cuisine, and some of the Futurist concepts of dining as a performative art. Günter Berghaus is Reader in Theatre History and Performance Studies at the Drama Department, University of Bristol, and has published a dozen books and a large number of articles on theatre anthropology, Renaissance and Baroque theatre, dance history, and avant-garde performance. Directing a number of Futurist shows led to the publication of The Genesis of Futurism (1995), Futurism and Politics (1996), Italian Futurist Theatre (1998), and International Futurism in the Arts and Literature (2000).
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Chow, Rey, and Austin Sarfan. "We “Other Victorians”? Novelistic Remains, Therapeutic Devices, Contemporary Televisual Dramas." Daedalus 150, no. 01 (October 2020): 118–33. http://dx.doi.org/10.1162/daed_a_01837.
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In reference to the work of Michel Foucault and to residual Victorian novelistic features, this essay explores the biopolitical dimension of contemporary televisual dramas, focusing on the popular crime genre as seen in The Sopranos (1999–2007), Breaking Bad (2008–2013), and The Fall (2013–2016). Emphasizing the confessional context of criminality and policing, we demonstrate how such shows rely on the conventions of modern psychological discourse in depicting criminals, thus foregrounding what Eva Illouz in Saving the Modern Soul (2008) has called the “therapeutic emotional style.” By updating aspects of D. A. Miller's conception of the policing plot in The Novel and the Police (1988), we argue that confession in contemporary televisual dramas exemplifies a cultural transition from power as force to power as communication. The ascendance of communicative power pathologizes aspects of masculinity and introduces a new dramatic/narrative device: the therapeutic couplet.
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Carneiro, Maria Francisca. "The biography of scientists as a means of communicating science: analogies concerning a hermeneutic or empirical problem." Journal of Science Communication 06, no. 04 (October 22, 2007): A03. http://dx.doi.org/10.22323/2.06040203.
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Sometimes scientists live real dramas or undergo social and psychological conflicts which have a positive or negative influence on the development and recognition of their research, discoveries and inventions in society, including the way they are recorded in history. This being so, the question is: to what extent can science be communicated to the public at large by the use of scientists' biographies as a motivational strategy? The controversy arises from the fact that usual (classical) science has traditionally argued for the separation (or de-linking) of the research (the object) from the researcher (the subject).Thus, if the above-mentioned motivational strategy is used in scientific communication, it could break a dominant methodological trend and consequently lead to a questioning of the myth of axiological neutrality in science. The communication of science by means of scientists' biographies could be useful for reaching a specific public, more directed towards emotional aspects, thereby awakening its interest in science, even amid cultural differences and in environments where interest in science and its utility is lacking. It could also reveal human aspects of the everyday life of scientists, bringing them closer to the public at large, which would contribute to the dissemination of science and knowledge.
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Айларова, С. А. "On the historical concept of Soslan (Vano) Temirkhanov." Вестник Владикавказского научного центра, no. 4 (December 18, 2023): 21–29. http://dx.doi.org/10.46698/vnc.2023.11.87.001.
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Статья посвящена историко-культурной концепции осетинского про- светителя Сослана (Вано) Темирханова, изложенной в его труде «Иры истори» (1913 г.). Форма культурно-исторической идентификации, представленная историком, опи- ралась на определенные стороны этнической традиции, реализовавшиеся в истории осетинского народа. Это интегральные мифологемы культуры (в частности, миф о Прометее), древняя религиозная традиция – иранский монотеизм, определившие логи- ку национальной истории. Самобытное ментальное ядро осетинской культуры дикто- вало в истории формы общественной солидарности и государственного устройства, этического и эстетического восприятия мира. Историк ставил перед собой научные и просветительские цели, представив обобщающую картину истории осетинского народа в ее основных периодах. Непрерывность повествования задается единством иранской этнической основы, прослеживаемой с глубокой древности – историей народа «ир». Этнический исток осетинского народа связан преемственной нитью с чередой этнонимов древних и средневековых источников – скифов, сарматов, алан – в единую историю осетинского народа («ирон адам»), и связывает его с индоариями древности и общностью всех иранских народов. Постоянные войны и конфликты определили тра- гическую драматургию истории народа. Поэтому Темирханов большинство глав своего труда называет по именам грозных врагов предков осетин: «римская эпоха», «гуннская эпоха», «монгольское время» и т.д. Творчество Темирханова – это поиск ориентиров культурно-цивилизационного развития Осетии в XX веке, выстраивание такой нацио- нально-культурной идеологии, которая обеспечила бы внутреннюю интеграцию социу- ма в период модернизации и внешнюю интеграцию в мировое сообщество при сохране- нии собственной идентичности The article is devoted to the historical and cultural concept of the Ossetian educator Soslan (Vano) Temirkhanov. The form of cultural and historical identification presented by the historian was based on certain aspects of ethnic tradition realized in the history of the Ossetian people. These are integral mythologems of culture (in particular, the myth of Prometheus), an ancient religious tradition – Iranian monotheism, which determined the logic of national history. The original mental core of Ossetian culture dictated in history the forms of social solidarity and state structure, ethical and aesthetic perception of the world. The historian set himself scientific and educational goals, presenting a generalizing picture of the history of the Ossetian people in its main periods. The continuity of the narrative is set by the unity of the Iranian ethnic basis, traced from ancient times – the history of the people of "ir". The ethnic origin of the Ossetian people is connected by a continuous thread with a series of ethnonyms of ancient and medieval sources – Scythians, Sarmatians, Alans – into a single history of the Ossetian people ("iron Adam"), and connects it with the Indo-Aryans of antiquity and the community of all Iranian peoples. Constant wars and conflicts have defined the tragic drama of the history of the people. Therefore, Temirkhanov calls most of the chapters of his work by the names of the formidable enemies of the ancestors of the Ossetians: "Roman era", "Hun era", "Mongol time", etc. Temirkhanov's work is a search for guidelines for the cultural and civilizational development of Ossetia in the XX century, building a national and cultural ideology that would ensure the internal integration of society during modernization and external integration into the world community while preserving its own identity
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Sujito, Sujito. "ANALISIS ASPEK BAHASA DAN NILAI SOSIAL BUDAYA DALAM DRAMA OIDIPUS." LINGUA: Journal of Language, Literature and Teaching 11, no. 1 (April 3, 2016): 107. http://dx.doi.org/10.30957/lingua.v11i1.33.
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This study describes intrinsic analysis of Drama text written by Sophocles, focusing on general and social aspects of analysis. Content analysis was used in this study to examine the text of the drama. The study concluded that the Legend of Thebes represented in Oidious the King inherently reflected valuable linguistic and social values. Written by a wellknown author, Sophocles, Oidious the King presented setting sensitive aspects of natural characters of human beings. Social values that involved democratic, religious, loyality, living harmoniously in the community were well described in this drama.
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Yang, XiaoMing, and XiangMin Hu. "The Social and Cultural Characteristics of Shanxi Ancient Drama Costumes." Asian Social Science 16, no. 3 (February 27, 2020): 43. http://dx.doi.org/10.5539/ass.v16n3p43.
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The main research subject of this paper is the costume of Shanxi ancient drama, which is used to decorate the role in the form of drama performing art that spread in Ancient Shanxi. Drama costume is a kind of special performance costume which combines decoration, acting and symbolism. It is quite different from the traditional costume in aesthetic and functional aspects. The social and cultural factors that influence the costume of Shanxi ancient drama mainly include the system and rules of Chinese ancient costume, the subtle influence of Buddhist culture and Taoist culture, as well as the profound influence of loyalty culture.
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Bašović, Almir. "Bosnian Drama and Theater: Some Literary and Theatrical Aspects." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 15–24. http://dx.doi.org/10.51558/2490-3647.2021.6.3.15.
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This text is an introduction to the thematic block of the journal Social Sciences and Humanities Studies on the literary and theatrical aspects of Bosnian drama and theater. It recalls the presence of theatrical and sub-theatrical phenomena on the territory of Bosnia and Herzegovina in antiquity, and then lists the specifics of Bosnian culture in the Middle Ages, from which arises a specific relationship to drama and theater. The attitude of Islamic culture towards theater and drama significantly influenced the status that drama has even after the departure of the Ottoman Empire from Bosnia and Herzegovina. With the arrival of the Austro-Hungarian Empire, there are significant differences concerning European civic theater. Through the most important conclusions from the individual texts that make up this block, the status that Bosnian drama has in our theatrical culture is pointed out.
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Zhang, Jinsong. "Discussion on Raymond Williams’ Methodology of Drama Criticism." Journal of Contemporary Educational Research 5, no. 10 (October 29, 2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.
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Raymond Williams is one of the representative figures of British cultural Marxism and British cultural research. His cultural research, especially mass culture research, focuses on literary criticism. Among them, drama criticism is one of Williams’ most important forms of cultural criticism methodology. Williams’ drama criticism is based on drama history criticism. Through the historical analysis of drama content and form as well as the synchronic analysis of modern drama in different historical periods, including the ongoing drama history, Williams proposed the notion of “structures of feeling.” The emergence of this concept opened up the social critical dimension of Williams’ drama criticism. Drama criticism has become a window for examining, analyzing, and grasping the current social emotional structure or social culture. Furthermore, by implanting tragic plots in the drama, a potential practical strategy of social and cultural revolution can be realized.
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Tatum, Lynn. "David's Social Drama. James W. Flanagan." Bulletin of the American Schools of Oriental Research 289 (February 1993): 95. http://dx.doi.org/10.2307/1357367.
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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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Jeon, Kyung-Wook. "The History and Performing Aspects of Thai Mask Dance Drama Khon." Journal of Namdo folklore 44 (June 30, 2022): 239–75. http://dx.doi.org/10.46247/nf.44.8.
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Değirmenci Uysal, Nuriye, and Fatih Yavuz. "Language Learning Through Drama." International Journal of Learning and Teaching 10, no. 4 (October 30, 2018): 376–80. http://dx.doi.org/10.18844/ijlt.v10i4.766.
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This study presents a review of the literature regarding the impact of drama on dimensions of second/ foreign language learning. The paper first discusses the importance of integrating drama into the second/ foreign language learning process and the role of teachers and students in the learning process. Then, after introducing the pedagogical and linguistic aspects of using drama techniques in the language classroom in a broader perspective, it focuses on the drama-oriented verbal and nonverbal exercises. Next, the paper reviews the studies on the language learning through drama, and concludes that using drama in language teaching would facilitate emotional and social development in addition to language development of students while it points out that the number of studies on the issue is limited.
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Gao, Han. "Dramatism of Cossack life in the works of F. Kryukov." Филология: научные исследования, no. 10 (October 2023): 9–14. http://dx.doi.org/10.7256/2454-0749.2023.10.48494.
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The research is aimed at analyzing the works of Fyodor Kryukov, in which he describes Cossack life. We explore the dramatic aspects of this topic, including the internal conflicts of the characters, the sociocultural aspects of Cossack life and its influence on the fate of the heroes. The Cossacks have unique values and traditions, which shape the characteristics of dramatic events. The works of F. Kryukov are deeply concerned with the psychology of the characters, which makes the drama more intense. The structure of the works, the author's style and the use of literary means to convey the drama of Cossack life will also be considered. The works of F. Kryukov leave a significant mark on literary history. This study is original in that it attempts a deep analysis of the drama of Cossack life and its expression in the works of F. Kryukov. Previous studies of Cossack folklore and literature have focused on the general features of Cossack culture, but our study focuses on moments of dramatic tension and personal conflict, which represents a new research approach to the work of F. Kryukov and Cossack themes in literature in general. By analyzing specific aspects of drama, we are able to more deeply understand how Kryukov conveyed the complex emotional and moral aspects of Cossack life in his works. In a study on the drama of Cossack life in the works of F. Kryukov, the following conclusions were found: drama occupies a central position in the works.
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Nurgali, Kadisha, Aman Zhumsakbayev, Gaini Zhambabayeva, Aiman Zeinulina, and Gauhar Tileuberdi. "Philosophical ideas in drama on the example of women's drama." XLinguae 16, no. 3 (June 2023): 48–56. http://dx.doi.org/10.18355/xl.2023.16.03.05.
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In this article, specific methodological approaches to analyzing drama from a philosophical point of view are formulated. Our research’s principal conceptual basis consists of considering the personalities of the drama characters animated in the text (and especially in the stage action) as primary attractors for readers-viewers (recipients). Drama consideration (in addition to philological, psychological, semiotic, and other aspects) is proposed as a metaphor that leads to a holistic intellectual and spiritual understanding of its social and philosophical meanings in the unity of the personal-conscious, collective unconscious, and socially determined content. In addition, a conceptual system of socio-philosophical analysis of drama as a unity of society’s real microsocial and macrosocial environments, expressed by the images of the virtual world of the dramatic work in society as a whole, is proposed and implemented. The author explains and systematizes the socio-philosophical ideas and the geo-sociocultural aspect of feminism and feminist literature (features of feminism and feminist drama in the Anglo-American reality). In addition, the author contributes to understanding an important aspect of the modern Western mentality. It is shown that women’s drama is one of the most significant genres of expression of the “philosophy of women’s lives” in the socio-cultural dimension and contains relevant social and philosophical ideas related to gender issues. The article considers the application of the modern literary approach of “feminist criticism” in combination with traditional philological and philosophical approaches, which allowed us to offer a more systematic understanding of the phenomenon of “women’s drama” and revealed the links between the ideology and practice of the feminist movement with the peculiarity of expressing the positions of specific subjects in the form of dramatic works.
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Bozedean, Corina. "Pleading for a History of Romanian Translation. The Dramatic Text." Acta Marisiensis. Philologia 2, no. 1 (September 1, 2020): 1–5. http://dx.doi.org/10.2478/amph-2022-0022.
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Abstract The international reception of drama text is, as Hans Robert Jauss showed, not a passive assimilation of the foreign cultural fact but an active and selective response to what is perceived as exterior. The literary creation enjoys but of a relative autonomy which is to be analysed into a dialectic relationship with society, with its production and consumption habits over a given period of time. The degree of closeness to translated creation varies based on audience, and therefore work on a history of translation becomes not only a titanic effort but also proves to be absolutely necessary for a better fixation of certain literary currents and ideologies. As for drama text, the approach of aspects such as the part of editorial translation/retranslation, the part of texts meant for stage or the special profile of the translator of drama may bring a contribution to a more objective understanding of the Romanian theatrical movement.
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Neima, Anna. "The Politics of Community Drama in Interwar England." Twentieth Century British History 31, no. 2 (November 28, 2019): 170–96. http://dx.doi.org/10.1093/tcbh/hwz035.
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Abstract There was a wave of reform-oriented drama across England in the 1920s and 1930s, which extended from urban, socialist theatre to the ‘late modernist’ enthusiasm for rural pageantry and from adult education to Church revival. Most scholarship looks at drama in these various milieus separately, but this study of three plays that were put on in a corner of South West England—a nativity play, an innovative ‘dance-mime’, and a Workers’ Educational Association narrative piece—brings them together. These plays shared a connection to Dartington Hall, a social and cultural experiment set on a large estate in Devon in 1925 by an American heiress, Dorothy Elmhirst, and her Yorkshire-born husband, Leonard, which became a nexus for the various strands of community-seeking theatre evident in interwar England—as well as for social reform more generally. This article shows how dramatic performances formed part of the quest for communal unity that was a dominant strand in social thinking between the wars: driven by fears about class strife, the effects of democratization, the recurrence of war, and the fragmenting effects of secular modernity, elites, artists, and activists of diverse hues tried to reform the very idea of Englishness by putting on plays—fostering values of community and communality, while often taking inspiration from an idealized vision of the rural community of England’s pre-industrial past.
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Nkurunziza, Bonaventure, Jean Paul Ngoboka, and Hilaire Habyarimana. "A Pragmatic Analysis of Conversational Implicatures in English Drama and their Role in Teaching Critical Literacy." African Journal of Empirical Research 5, no. 3 (July 3, 2024): 34–46. http://dx.doi.org/10.51867/ajernet.5.3.4.
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This study aims to explore the role of conversational implicatures in English drama in developing students’ critical literacy. It identified conversational implicatures conveyed by characters of the selected drama texts, provided possible interpretations of the implicatures basing on Grice’s Cooperative Principle maxims, and critically analyzed the role of conversational implicatures in English drama in developing students’ critical literacy. The data were collected from the implicatures conveyed by the characters of two selected drama texts. These are ‘Family Abuse’ by Bernard Mersier and ‘The Edge’ by Paul Symonloe. Grice’s pragmatic theory of Cooperative Principle and its maxims were used to identify and interpret conversational implicatures in the selected drama texts. Forty-two (42) conversational implicatures were identified from these texts. These implicatures were categorized into types basing on the four conversational maxims, and each conversational implicature was taken as data. Using Grice’s interpretive model and the social context of the drama, what the characters implied by their utterances were explained together with the reasons for the implicatures. The Luke and Freebody’s four resources model of critical literacy was then used to study the role of conversational implicatures in English drama in developing students’ critical literacy. The study concluded that conversational implicatures in English drama develop students’ critical literacy by enabling them to study a drama text from a social angle and evaluate the social aspects that may have influenced the meaning of the characters ‘utterances. Therefore, it was suggested that drama texts should be used in language teaching and learning as they ease the teaching of conversational implicatures which can foster the development of students’ critical literacy.
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Lee, Jin. "A Study on Transmedia Storytelling of Web Dramas." Korean Society of Culture and Convergence 44, no. 7 (July 31, 2022): 109–20. http://dx.doi.org/10.33645/cnc.2022.7.44.7.109.
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The purpose of this study is to understand the aspects of transmedia storytelling that encompass the formal and content characteristics of media appearing in web dramas. Focusing on the web drama of Playlist, a representative web drama production company, a transmedia approach to web dramas were attempted as a hybrid content with both the web and drama characteristics. The expansion leading to OSTs and goods in terms of media form expands the scope of web drama text by allowing users to synesthetically appeal web dramas. In addition, a multi-layered pattern that encompasses expansion, modification, and change appears through close connection with web content that shares the web ecosystem. In terms of the content of the media, the construction of the transmedia storyworld, a key methodology of transmedia storytelling, is revealed. Plyverse’s fictional space gives an syntagmatic context to the storyworld through the social daily space, and based on this, the character functions as a persona representing the social space. The paradigmatic connection centered on the rituals of social space provides the probability of expansion and intersection where new characters can naturally appear
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Allern, Tor-Helge, Sisi Zheng, and Stig A. Eriksson. "Interview with Li Yingning." Applied Theatre Research 10, no. 2 (December 1, 2022): 205–26. http://dx.doi.org/10.1386/atr_00071_7.
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In this interview, the Chinese playwright and drama education pioneer Li Yingning (b. 1942) talks about her life and way into educational drama. Li and her family’s life is to a remarkably large extent connected to modern Chinese history. Li’s plays focus on women’s issues, social problems and historical productions. Her life seems to include much of China’s modern history – and drama – in many levels of meaning of this word.
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Snow, David A., and A. Paul Hare. "Social Interaction as Drama: Applications from Conflict Resolution." Social Forces 65, no. 2 (December 1986): 574. http://dx.doi.org/10.2307/2578694.
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Wanderer, Jules J., and Robin Erica Wagner-Pacifici. "The Moro Morality Play: Terrorism as Social Drama." Social Forces 67, no. 2 (December 1988): 558. http://dx.doi.org/10.2307/2579210.
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Gorinova, Natalia Vasilievna. "KOMI FEMALE DRAMA: SOME ASPECTS OF STUDYING THE QUESTION." Yearbook of Finno-Ugric Studies 13, no. 4 (December 25, 2019): 643–52. http://dx.doi.org/10.35634/2224-9443-2019-13-4-643-652.
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The beginning of the 21st century opened a new page in the development of Komi literature connected with the activity of female authors earlier unprecedented on a dramatic field. In the 2000s Nina Kuratova, Elena Kozlova and Nina Obrezkova addressed dramaturgic genres. By this time they had already been popular writers. Having addressed a dramaturgic genre, new to itself, each writer introduced organic features in a palette of dramaturgic poetics, enriching and updating national culture. We devoted this work to research the specifics of Komi female dramatic art. Gender approach and method of the comparative analysis allowed us to reveal features of Komi female dramatic art. The Komi female dramatic art is not stereotypical and cliched, there is no similarity in the creation of plots and the features of characters in plays by the playwrights. N. Kuratova's, E. Kozlova's and N. Obrezkova's plays differ on the one hand from each other, on the other hand from plays by male Komi playwrights. It is not only about female playwrights reproducing in plays the female character and especially female household reality, but also about reproduction of how women feel and understand the world. In the Komi female drama we see the desire of the woman to live in harmony with the world, to constantly feel safe, to arrange family cosiness, to keep and transfer to the subsequent generations family values, love and respect (Kuratova). Also female drama transmits that pain which is felt by the woman, building relations with men, feeling their pressure and even violence (Kozlova). The female drama reveals changes the woman in modern society experiences, her finding new social roles, finding male features against the background of spiritual weakening of men (Obrezkova). So, the female consciousness gets into Komi dramaturgic space, opening new ways in an artistic judgment of reality, enriching an aesthetic paradigm.
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M, Vadivel, and Amitha Darwin J. "The Expression of Music in the Theatre." International Research Journal of Tamil 4, S-19 (December 10, 2022): 79–83. http://dx.doi.org/10.34256/irjt224s1913.
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Sangam Tamil consists of three major parts viz., Poetry, Music, and Drama. This is something that no other language in the world has. Hence, Tamil can also be called Muthamizh (The three kinds of literature in Tamil). Drama, along with music, has been developing gradually since time immemorial. Theatrical music is a mirror of worldly events. The literature also makes it clear that the Tamils excelled in art and culture. Therefore, on the basis of literary references, Poetic Tamil, Music Tamil, and Drama Tamil are the three Tamils that make history in many aspects. This approach seeks to explain from a variety of perspectives the work done by Thavathiru Sankaradas Swamigal on Musical Drama Text, mention of literary dramas such as play and dance, and his contribution to Tamil music and drama.
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Hidayat, Arif, Zuriyati Zuriyati, and Miftahulkhairah Anwar. "Penelusuran Struktur Cerita dalam Naskah Drama Terjemahan: Kasus "Badak-badak" karya Jim Lim." JURNAL Al-AZHAR INDONESIA SERI HUMANIORA 9, no. 2 (July 20, 2024): 96. http://dx.doi.org/10.36722/sh.v9i2.2733.
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<p><strong>A translated drama script is a work that combines many elements from narrative structure to social and artistic aspects. Translating a drama script into another language requires a deep understanding of its cultural aspects, language and artistic nuances. This translation process not only changes the words, but also adjusts artistic elements, maintains the essence of the original story, and understands and reproduces the meaning contained in the drama. This research aims to comprehend the storyline in a translated drama script using the Traditional Narrative Analysis Method in the work "Badak-badak," a translation of "Rhinocéros" by Eugene Ionesco. The research results reveal that this manuscript carries the theme of the transformation of humans into rhinos with a linear plot that follows the chronology of events. Various key characters interact in a tavern as the main setting. The storyline visualization maps events from introduction to resolution, including Slamet's drinking routine, the appearance of the rhino, character transformation, and Slamet's state of isolation. This understanding influences many aspects, including learning, teaching, and theater practice. Storyline visualization provides a foundation for cultural exploration, deeper learning, and provides guidance in planning theatrical productions. An in-depth understanding of the storyline of a translated drama script not only enriches the learning experience of theater students, but also supports the design of a cohesive and strong theater production.</strong></p><p><strong><em>Keywords</em></strong> – <em>Badak-badak, Narrative Structure, Rhinoceros, Translated Drama Script.</em></p>