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Journal articles on the topic 'Dramatic works'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Rawson, C. J., John Gay, and John Fuller. "Dramatic Works." Modern Language Review 81, no. 3 (July 1986): 720. http://dx.doi.org/10.2307/3729212.

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2

Khamdamovna, Mavlanova Ugiloy, Ruzieva Dilfuza Salimboevna, and Babaeva Vasila Toshpulatovna. "Irony in dramatic works." International Journal of Psychosocial Rehabilitation 24, no. 03 (February 18, 2020): 311–17. http://dx.doi.org/10.37200/ijpr/v24i3/pr200784.

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3

Oshukov, Mikhail. "Ezra Pound’s Dramatic Works: Vorticist Noh Theater." Literature of the Americas, no. 7 (November 2019): 339–59. http://dx.doi.org/10.22455/2541-7894-2019-7-339-359.

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4

Aikin, Judith P. "The Musical-Dramatic Works of David Schirmer." Daphnis 26, no. 2-3 (January 3, 1997): 401–35. http://dx.doi.org/10.1163/18796583-0260203005.

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5

BEYER, BETHANY. "RECEPTION AND CIRCULATION OF MACHADO'S DRAMATIC WORKS." Machado de Assis em Linha 12, no. 27 (August 2019): 48–66. http://dx.doi.org/10.1590/1983-6821201912273.

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Abstract This article examines how Machado's consecration as a national literary hero, and more recently as a world literature figure, has included or excluded his dramatic works. In doing so, the piece considers the role of collections, critical evaluations, book reviews, and performances. The effort to trace the presence and reception of his plays in various publications and languages demonstrates that in Brazil, the dramatic works initially were preserved out of obligation, but now they are undergoing a limited re-evaluation. Outside of Brazil, appreciation for Machado is genre specific; his plays largely are excluded from the world literature scene. In essence, his prose overshadows his dramatic works, and his extant plays do not enter into his construction as a world literature author.
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6

High, Jeffrey L. "Two Reception Histories of Schiller's Dramatic Works." Eighteenth-Century Studies 37, no. 3 (2004): 487–91. http://dx.doi.org/10.1353/ecs.2004.0023.

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7

Rohatoy, Mashrapov. "SOCIAL FACTORS ENSURING THE SOCIAL CHARACTERIZATION OF SPEECH IN DRAMATIC WORKS." International Journal of Advance Scientific Research 4, no. 6 (June 1, 2024): 122–31. http://dx.doi.org/10.37547/ijasr-04-06-19.

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In the article dramatic in the works of speech social characteristic provider social factors statement done, then independence during created works, especially dramas unscientific tools using expressed meanings analysis done.
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8

Anishchenko, Valentina Vladimirovna. "ASOMNIA PROBLEMATICS OF M. YU. LERMONTOV’S DRAMATIC WORKS." Philological Sciences. Issues of Theory and Practice, no. 6 (June 2019): 7–11. http://dx.doi.org/10.30853/filnauki.2019.6.1.

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9

Wiltrout, Ann E., Louis C. Perez, and Feliciana Enriquez de Guzman. "The Dramatic Works of Feliciana Enriquez de Guzman." Hispania 73, no. 1 (March 1990): 90. http://dx.doi.org/10.2307/342965.

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10

Roditi, Edouard, Federico García Lorca, William Bryant Logan, and Angel Gil Orrios. "Once Five Years Pass and Other Dramatic Works." World Literature Today 64, no. 4 (1990): 617. http://dx.doi.org/10.2307/40146909.

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11

McKendrick, Melveena, Louis C. Perez, and Feliciana Enriquez de Guzman. "The Dramatic Works of Feliciana Enriquez de Guzman." Hispanic Review 59, no. 3 (1991): 343. http://dx.doi.org/10.2307/474060.

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12

Nurmanova, Barno Ahmadjon qizi. "INTERPRETATION OF ROLE BY ACTORS IN DRAMATIC WORKS." European Journal of Arts, no. 2 (2022): 36–40. http://dx.doi.org/10.29013/eja-22-2-36-40.

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13

Musinova, G., and K. Tulebayeva. "REFLECTION OF THE SEMIPALATINSK TRAGEDY IN DRAMATIC WORKS." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 3 (September 15, 2022): 175–87. http://dx.doi.org/10.55808/1999-4214.2022-3.17.

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The purpose of the research work is to identify, through the scientific study of genre and poetic trends, the artistic identity, the ideological and thematic atmosphere of modern Kazakh drama, to show the features of poetics and the problems of stylistic affiliation, to differentiate the novelty and continuity of traditions, to identify the author's point of view, signs of his individual stylistic differences and common thematic features in dramatic works reflecting Semipalatinsk tragedy. The genre of drama in Kazakh literature in the period after the country's entry into the mainstream of independence is characterized by a peculiar direction of development, artistic research, genre patterns and style field. In the works of playwrights of this period, the changes in the life of the country under the auspices of independence, historical continuity in our spiritual world, vivid responses caused by free consciousness, tense character are clearly expressed, the author's position in the transfer of the drama of the social environment is clearly marked, and a breakthrough in the image of the primordial essence of things is also noticeable. The article examines the trends in the development of Kazakh dramaturgy of the period of independence, the specifics of the reflection of the Semipalatinsk tragedy in dramatic works, the novelty of plays and the continuity of traditions, ideological and meaningful searches, language, style, problems, shows the modern directions of development and artistic integrity of dramaturgy. It is obvious that the cardinal changes taking place in the Kazakh society, which acquired sovereignty and moved to a market economy accompanied by globalization, brought social spiritual life to a new level and significantly influenced the formation of an open human consciousness. In the first years of independence, dramatic works were born in the Kazakh artistic word, freed from the political restrictions of the era of totalitarian system and man-made «socialist realism», which quickly took root, laid new themes and plots in accordance with the requirements of the post-perestroika time. This trend is also a natural consequence of the spirit of the times, because Kazakh drama is the most important component of fiction and urban national spirituality, which is developing in the conditions of continuity of world artistic thought and has reached significant heights.
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14

Zhilichev, Pavel E. "Metadrama in V. Mirzoev’s Works." Critique and Semiotics 40, no. 1 (2022): 380–99. http://dx.doi.org/10.25205/2307-1737-2022-1-380-399.

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This paper deals with the specifics of metadrama in Vladimir Mirzoev's works. The metatextual aspect of the communicative structure of Mirzoev’s plays is based on uti-lizing traditional actants of the dramatic intrigue, including kings, jesters, army officers, magicians, Hamlet, Don Juan, etc. Mixing references to classic and contemporary literature, Mirzoev’s texts take palimpsest (G. Genette), pastiche (R. Dyer) as a basis for developing dramatic action and tension. For example, The Tower decon-structs the archetype of Don Juan by combining the elements of the traditional plot with the iconography of the Tarot, references to well-known Russian classics, and elements of avant-garde aesthetics. Moreover, another “layer” of the “palimpsest” is formed by interactions with the “absurd authors of the past” (Harms, Pinter), weaving the position of interpretation (philological, directorial) into the discursive structure. Overall, the usage of palimpsest and pastiche corresponds with the dramatic intrigue of metamorphosis, the depiction of an absurdist cosmogony of a fictional world that stands on the deconstruction of cultural cliches and re-shaping the consciousness of both the characters and the recipients.
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15

Schilz, Robert, and Stuart Rich. "Calcium Channel Blocker Therapy: When a Drug Works, it Works. When it Doesn't, it Doesn't." Advances in Pulmonary Hypertension 15, no. 4 (January 1, 2017): 184–89. http://dx.doi.org/10.21693/1933-088x-15.4.184.

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Calcium channel blocker (CCB) therapy continues to be an element of modern pulmonary arterial hypertension treatment guidelines. However, the true number of patients that can be effectively treated with CCBs is very small. It is important to remember that those who truly retain a long-term benefit are those that tend to have a dramatic initial response to vasodilators and will attain normal or near normal hemodynamics and functional class after starting CCBs. Should a patient do so, they may well enjoy dramatic long-term survival on this regimen. In this article we discuss details and experience with calcium channel antagonists.
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16

Aspinall, Dana E., Francis Beaumont, John Fletcher, and Fredson Bowers. "The Dramatic Works in the Beaumont and Fletcher Canon." Sixteenth Century Journal 27, no. 3 (1996): 823. http://dx.doi.org/10.2307/2544038.

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17

Lytovskaya, Alexandra. "Aristophanes’ Dramatic Works and Crisis of Polis World-View." Pitannâ lìteraturoznavstva 87 (September 3, 2013): 97–105. http://dx.doi.org/10.31861/pytlit2013.87.097.

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18

Cherkasova, V. V. "CHARACTERISTICS OF THE UNFINISHED DRAMATIC WORKS OF I.S. TURGENEV." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 79(1) (2021): 160–63. http://dx.doi.org/10.37313/2413-9645-2021-23-79(1)-160-163.

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Тhis article gives a general description of the unfinished dramatic works of I. S. Turgenev, and defines their problems. The author comes to the conclusion that among the unfinished scenes and comedies there were three ideas: "The Bridegroom", "Companion-ka" and "No. 17"; three beginnings of the work - "The Temptations of St. Anthony", "Two Sisters" and "Party". The pies "The Groom", "The Companion" and "No. 17" were started in the same period, in the spring of 1850. They are deliberately unfinished by the author. "The Companion" will soon be absorbed by the concept of "Own Master's Office" and the novel "Two Generations", and the plays "The Groom" and "No. 17" were supplanted by the play "A Month in the Country". The play "Party" was also supplanted by the play "The Bachelor". I.S. For a long time Turgenev tried to sit down at the play "Two Sisters", promising A.A. Kraevsky wrote the work on time, but deliberately left it unfinished. To the play "The Temptations of St. Anthony" by I.S. Turgenev thought to return when he was writing the preface to the translation about the Temptation by G. Flaubert, but the version of the manuscript did not reach us, that is, it remained deliberately unfinished.
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19

Dunnhaupt, Gerhard, Judith P. Aikin, and Caspar Stieler. "Scaramutza in Germany. The Dramatic Works of Caspar Stieler." German Quarterly 64, no. 2 (1991): 241. http://dx.doi.org/10.2307/407089.

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20

Reinhart, Max, Judith P. Aikin, and Caspar Stieler. "Scaramutza in Germany: The Dramatic Works of Caspar Stieler." German Studies Review 15, no. 3 (October 1992): 575. http://dx.doi.org/10.2307/1430375.

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21

Stelleman, Jenny. "Traditional and Innovative Compositional Methods in Lermontov's Dramatic Works." Russian Literature 64, no. 1 (July 2008): 109–56. http://dx.doi.org/10.1016/j.ruslit.2008.07.006.

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22

Shapoval, Mariana. "Faction biodrama in Peter Shaffer’s dramatic works of literature." Ukraïnsʹka bìografìstika, no. 23 (May 4, 2022): 78–99. http://dx.doi.org/10.15407/ub.23.078.

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23

Agaverdiyev, Alislam. "Teaching middle school students the content of dramatic works." Filologiya məsələləri Journal of Philological Issues, no. 3 (2024): 495. http://dx.doi.org/10.62837/2024.3.495.

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24

Prysiazhniuk, Olga M. "CONCEPT “ANTIQUITY” IN THE DRAMATIC WORKS OF LESIA UKRAINKA." Literary Studies, no. 61 (2021): 134–42. http://dx.doi.org/10.17721/2520-6346.2(61).134-142.

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The article is devoted to the study of the conceptualization of their own and general nominations with the value of antiquity in Lesia Ukrainka drama “Iphigenium in Tavrid” and “Orgy”. Scientific results complement the linguistic categories of linguosophical categories “Concept”, “Conceptual Picture of the World” and “Language Picture of the World”. The linguistic picture of the world is seen as a formal means of expression of a specific ethnos. The concept is understood as a system of concepts, united by a general integrated seven, which is a complex of semi-seven and books and their relationships. The article is studied by anthroponyms, toponyms, ethnons with antiquity value through the prism of the author’s style of Ukrainian poets Lesia Ukrainka. It has been established that the set of nominations for the designation of antiquity recorded in Lesia Ukrainka’s drama “Iphigenya in Tavriya” and “Orgy”, forms a conceptual system of antiquity, which has a clear paradigmatic structure, namely: 1) Lexical and grammatical discharge → 2) Lexical -mantic group → 3) Lexical-semantic subgroup. The concept of “antiquity” is formed from its own and common nominations. General names presented by ethnons, ons are represented by anthroponyms and toponyms. Receiving inventory allowed to allocate 38 nominations with the integral seven “antique”. The conducted research indicates a significant advantage of ancient Greek nominations over Latin (only 6 nominations of Latin origin and significance – in contrast to 32 Greek nominations). The concept of “antiquity” as a set of nominations with the value of antiquity recorded in Lesia Ukrainka drama “Iphigenium in Tavriya” and “Orgy”, expresses the language picture of Ukrainians leading the motive of Byzantine on the territorial, political and similar “ego”.
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25

Martin, John. "DRAMATIZED DISPUTATIONS: LATE MEDIEVAL GERMAN DRAMATIZATIONS OF JEWISH-CHRISTIAN RELIGIOUS DISPUTATIONS, CHURCH POLICY, AND LOCAL SOCIAL CLIMATES." Medieval Encounters 8, no. 2-3 (2002): 209–27. http://dx.doi.org/10.1163/15700670260497051.

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AbstractA comparison of the two Frankfurt Passion play manuscripts with two major dramatic works of Nuremberg dramatist Hans Folz reveals the impact of local social conditions on attitudes toward Christian-Jewish religious disputation between lay people. Though such debate was officially condemned by the Church from the thirteenth century onward, local attitudes determined whether the official condemnation would be respected or ignored. Further, dramatic engagement with theological issues produced, in Folz's work, toward a more benign depiction of Jews than commonly seen in late medieval German literature.
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26

Elam, Viola. "Sporting events as dramatic works in the UK copyright system." Entertainment and Sports Law Journal 13 (July 1, 2015): 1. http://dx.doi.org/10.16997/eslj.1.

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27

Toegel, Edith. "THE ‘LEIDENSJAHRE’ OF MARIE VON EBNER-ESCHENBACH: HER DRAMATIC WORKS." German Life and Letters 46, no. 2 (April 1993): 107–19. http://dx.doi.org/10.1111/j.1468-0483.1993.tb00978.x.

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28

ERNE, LUKAS. "W. E. BURTON'S DRAMATIC WORKS OF THOMAS KYD OF 1848." Notes and Queries 44, no. 4 (1997): 485–87. http://dx.doi.org/10.1093/nq/44.4.485.

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29

Erne, L. "W. E. Burton's Dramatic Works of Thomas Kyd of 1848." Notes and Queries 44, no. 4 (December 1, 1997): 485–87. http://dx.doi.org/10.1093/notesj/44.4.485.

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30

dixon, Victor. "Music in the Later Dramatic Works of Antonio Buero Vallejo." Bulletin of Spanish Studies 82, no. 3-4 (May 2005): 567–88. http://dx.doi.org/10.1080/1475382052000342824.

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31

Anton, Corey. "Facing the Gorgon: Kenneth Burke on Dramatic Form, Catharsis, and Transcendence." Literature of the Americas, no. 9 (2020): 43–59. http://dx.doi.org/10.22455/2541-7894-2020-9-43-59.

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Drawing mainly upon the thinking of Kenneth Burke, this essay overviews a few psychological functions performed within dramatic works of art. It shows how dramatic works of art (e.g. novels, plays, films, and even TV shows) operate as subtle modes of applied psychology: they offer different types of therapeutic benefits for those who produce such works and also for those who read them and/or audience members who witness them. I try to bring out how modes of catharsis as well as means of transcendence are afforded by dramatic form within art. Even more specifically stated, I review some of Burke’s ruminations upon his own semiautobiographical novel, Towards a Better Life, and I outline how dramatic works of art provide adequate symbolic distance for sizing up one’s life situations and for facing various challenges that can otherwise be too difficult to face head-on. Through symbolic and artistic maneuvers, which enable kinds of identification, authors and audience members learn to face their demons and gain new psychological resolves and/or vistas of self-understanding.
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32

Du, Lixia. "On the Tradition of dramatic monologue in English and American literature." International Academic Journal of Humanities and Social Sciences 1, no. 1 (May 28, 2022): 15. http://dx.doi.org/10.56028/iajhss.1.1.15.

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In British and American literary works, dramatic monologue, as a unique form of literary and artistic expression, is mainly used to distinguish the poet from the first person, and will deeply depict and shape the inner world of the characters. In the continuous development of social economy, dramatic monologue not only has a profound impact on British and American literature, but also expands the development space of literary works in the continuous study. Therefore, after understanding the definition and characteristics of dramatic soliloquy, this paper briefly understands three common forms of dramatic soliloquy in British and American literature, so as to provide effective basis for modern literary creation.
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33

Derksen, Céleste. "Out of the Closet: Dramatic Works by Sarah Anne Curzon Part One. Woman and Nationhood: Laura Secord, the Heroine of 1812." Theatre Research in Canada 15, no. 1 (January 1994): 3–20. http://dx.doi.org/10.3138/tric.15.1.3.

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Canadian modernist critics have tended to denigrate the works of nineteenth-century closet dramatists, including Sarah Anne Curzon. In their own ideologically-laden "aesthetic" evaluations, such critics have failed to attend to the historical and ideological frameworks that underpin early literary-dramatic practice. This first of a two-part essay on the dramatic works of Sarah Anne Curzon considers how the ideologies of gender and nationhood are interwoven in Laura Secord, The Heroine of 1812 to provide a scripting of nineteenth-century Canadian feminist dramatic practice.
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34

Lutsak, Svitlana, and Nataliia Vivcharyk. "THE DRAMATIC DOMINANT OF VASYL STEFANYK’S NOVELLAS." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 16(63) (August 26, 2022): 254–63. http://dx.doi.org/10.31471/2304-7402-2022-16(63)-254-263.

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The aim of the research is to analyze the genre features of Vasyl Stefanyk’s short stories, and first of all the dramatic component of their artistic structure. The main focus is on the short stories that formed the basis of the staging of the Zagrava Theater. Director Volodymyr Blavatsky chose the productions of the short story, the dynamic structure of the genre, which are revealed by modern researchers as dramas in the novel – «She is the Earth», «Sons», «Maria», «Thief», «Pious», «Morituri», and «My Word» (as a prologue). These works paid attention to the director, especially thematically expanded the scope of contemporary drama. The main article was the method of genealogical studies, combined with the methods of poetic analysis of the dominants of the internal organization of short stories by Vasyl Stefanyk. As a result of the research it was proved that it was the sharp conflict, dialogic speech, tension of the plot, temporal condensation, related issues, minimized descriptions that allowed the director to combine these works in one theatrical production. In addition, literary-critical reviews and works of Mykola Yevshan, Mykola Zerov, Mykhailo Rudnytsky, Ivan Franko, Lesia Ukrainka, etc. were used to characterize the ideological and artistic features of Vasyl Stefanyk’s short stories, which indicated the expressiveness of writing and minimal authorial presence in Vasyl Stefanyk’s short stories. The writer’s memoirs, archival materials, and diaspora research were also used, including Hryhor Luzhnytsky’s article «Son of the Earth», which outlined the specifics of the development of contemporary Ukrainian theater and the urgent need to enrich the repertoire with stagings by Ukrainian authors, including Vasyl Stefanyk. The main focus of the article is on the analysis of the short story «She is the Earth», which is central in the production of the same name. It is illustrated that the earth in the works and stagings of Vasyl Stefanyk appears in various guises – Motherland, home, people, family, symbolizes the inseparability of generations. The novelty of the article is the analysis of the longevity of the Ukrainian theatrical tradition, which was intuitively felt by the novelist Vasyl Stefanyk, transforming into an artistic structure of prose text, which led to the emergence of the original genealogical form of drama in the novel. This artistic tradition has found its refraction in the modern production of the Ivano-Frankivsk National Academic Drama Theater Ivan Franko’s drama-oratorio «She is the Earth».
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35

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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36

Monsman, Gerald. "The Complete Dramatic Works of H. Rider Haggard: A Review Essay." English Literature in Transition, 1880-1920 52, no. 1 (2009): 70–76. http://dx.doi.org/10.2487/elt.52.1(2009)0032.

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37

Lessing, Doris, and James Arnett. "Lesser Lessing, Onstage and Off: The Dramatic Works of Doris Lessing." PMLA/Publications of the Modern Language Association of America 137, no. 5 (October 2022): 857–60. http://dx.doi.org/10.1632/s0030812922000876.

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38

Juntunen, Jacob. "A Burglar of the Better Sort: Poems, Dramatic Works, Theoretical Writings." Polish Review 68, no. 1 (April 1, 2023): 132–35. http://dx.doi.org/10.5406/23300841.68.1.16.

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39

Banaie Kashtyan, M. H., S. S. Zamani, and N. Taghaie. "The Reflection of Kierkegaard's Thought in Sartre's (Dramatic) Works of Art." Philosophical Thought 1, no. 3 (October 1, 2021): 229–47. http://dx.doi.org/10.58209/jpt.1.3.229.

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40

Semeniuk, Larysa. "THE HISTORY OF COSSACK UKRAINE IN DRAMATIC GENRE FORMS OF THE 18TH CENTURY." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 12(80) (December 23, 2021): 120–25. http://dx.doi.org/10.25264/2519-2558-2021-12(80)-120-125.

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Recent scientific intelligence has led to an understanding of the ambiguity of the phenomenon of Cossack Ukraine which is presented in the texts of dramatic works of the XVIII century, which formation was influenced by the specificity of Ukrainian-Russian relations, complex inter-confessional relations and the heterogeneous nature of dramatic genre forms themselves. The study of the dramatic works of the late Baroque period is important and relevant considering revealing the authors' manifestation of their own national identity there, for the representation of which created by the artists of the XVIII century artistic model of the historical fate of Cossack Ukraine played a significant role. On the basis of historical-literary and contextual methods of research, an attempt was made to take into account in these texts their ideological message, inscribed in the traditional baroque dramatic genre forms of school drama (anonymous "Grace of God"), secular verbal dialogue ("Conversation between Velykorossiya and Malorossiya" S. Divovych), humorous interludes to school dramas and traditional Christmas vertep. The conclusions emphasize, that the references of the authors of dramatic works of the XVIII century to the history of the Cossack state, the creation of the cult of Bohdan Khmelnytsky, the image of the Cossack as a defender of the people in the context of sharpening Ukrainian-Russian relations was a topical theme of Ukrainian dramatic creativity. The emergence of such works during the national decline can be interpreted as an attempt of patriotic part of the Ukrainian elite of the XVIII century to draw the public's attention to the problem of restoring Cossack conquests as a guarantee of preserving national identity.
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41

Priydarshi, Ashok Kumar. "Jane Austen’s Comic Vision in her Art of Characterization with Special Reference to ‘Pride and Prejudice’." Journal of Advanced Research in English and Education 05, no. 02 (February 19, 2021): 5–7. http://dx.doi.org/10.24321/2456.4370.202005.

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Characterization is a literary device that is used step-by-step in literature to highlight and explain the details about a character in a story. In other words, characterization is the representation of persons in narrative and dramatic works. The term character development is sometmes used as a synonym. This representation may include direct methods like the attribution of qualities in description or commentary and indirect [dramatic] method invitie readers to infer qualities from characters’ action, dialogue, or acceptance. Such a personage is called a character. The range of Jane Austen’s characters is narrow but humour touches all her best characters.
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42

Mooney, T. Brian. "The Dialectical Interchange between Agathon and Socrates: Symposium 198b–201d." Antichthon 28 (1994): 16–24. http://dx.doi.org/10.1017/s0066477400000836.

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In recent years philosophers working within the field of Platonic studies have begun to stress the relationship between form and content in Plato’s works. This ‘revelation’ in its turn has led to a richer understanding of Platonic texts; no longer (or at least not so often) do we find a Socratic argument excised from its dramatic context and syllogistically and analytically examined. Analysis, of course, can never be divorced from philosophy but with respect to the corpus Platonicum philosophical analysis has been supplemented by a sensitivity to the denouement of an argument, in other words, the dramatic context.
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43

Borash, R. "METHODS OF TEACHING DRAMATIC WORKS BY COMBINATION OF THEORETICAL KNOWLEDGE AND EXPERIENCE." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 322–29. http://dx.doi.org/10.51889/2020-3.1728-7804.50.

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The article provides insights into the problem of teaching contemporary art. The genres of literature, including methods, features, teaching processes related to the teaching of dramatic works are presented separately. Among the methods of teaching are the methods of teaching drama, which consolidates and groups it with examples. The effectiveness of the methods is determined by referring to the works of scientists who have grouped the methods of teaching fiction. The peculiarity of the method of creative search is that it rests on the reading of the work of art, the role of the student in the development of aesthetic tastes and the world of emotions. The formation of skills is confirmed by examples. There is a distinction between reading the text of a work and reading texts of other styles, and examples show that the teaching of a work of art is based on reading. Writing a composition allows the student to fully understand the work of art and recognize the author's idea, theme and topical issue. Effective teaching of dramatic works through the performance of written works, its types and purpose are determined.
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44

Meshchansky, A. Yu, and L. A. Savelova. "Great Patriotic War in Modern Dramatic Discourse." Nauchnyi dialog 11, no. 3 (April 28, 2022): 284–300. http://dx.doi.org/10.24224/2227-1295-2022-11-3-284-300.

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The issue of understanding the theme of the Great Patriotic War (1941—1945) by modern Russian playwrights is raised in the article. The novelty of the study is due to the appeal to little-studied plays by the authors of the 21st century. The purpose of the article is to trace the specifics of the author’s individual variants of the artistic representation of the war theme on the material of the works of modern times and to give an idea of the discursive potential of this theme for modern dramaturgy. The evidence base is the analysis of three works written by different playwrights, which present the perception and living of military events and their consequences by a woman, a man and a child. These are the plays “Frontovichka” by A. Baturina, “Seven Trophies of Private Shapkin” by V. Tkachev and “Cannibal” by N. Vorobieva and K. Zhurenkov. The results of the analysis allow us to draw a parallel between eras and show that playwrights, through the prism of war, turn not so much to the past, but to the pressing problems of the present and future. It is concluded that this indicates the key nature of the military theme for modern Russian literature and its enduring significance both for each individual and for humanity as a whole.
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45

Gorinova, Natalia V. "Theatrical and dramatic work of Oleg Ulyashev." Finno-Ugric World 13, no. 4 (December 30, 2021): 405–16. http://dx.doi.org/10.15507/2076-2577.013.2021.04.405-416.

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Introduction. The work is devoted to the study of the theatrical and dramatic work of O. Ulyashev. It reveals the originality of his dramatic handwriting and some aspects of the movement of national culture in the 1990s. Materials and Methods. The material of the study was the plays by O. Ulyashev. The method of study is comparative. Results and Discussion. O. Ulyashev’s plays are an important milestone in the history of the development of the Komi Theater. His plays, like many other ones of the turn of the XX–XXI centuries, are inherent in the desire for renewal. The artistic originality of his texts, however, determines the actualization of folklore material. The writer’s worldview is close to the high artistic, aesthetic and moral and philosophical potential of oral folk art. It is folklore origins that contribute to his creative quest and the development of his creative aspirations. O. Ulyashev’s works, like many other works of Komi literature of the late XX century about the historical past of the Zyryans, serve to increase and strengthen national identity. Conclusion. The work of the writer O. Ulyashev played an important role in the development of theatrical and dramatic art of the Komi Republic. His plays largely update the Komi drama, saturating it with folklore material, romanticizing the past of the Zyryans.
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46

ROCHOVSKÁ, IVANA, and BOŽENA ŠVÁBOVÁ. "DRAMATIC ART AND DRAMATIC EXPRESSION THROUGH CREATIVE DRAMA METHODS IN PRESCHOOL EDUCATION." AD ALTA: 12/01 12, no. 1 (June 30, 2022): 142–50. http://dx.doi.org/10.33543/1201142150.

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The research focuses on determining the opinions of kindergarten teachers on the issue of applying dramatic expression in preschool education within five dimensions - the current state of the use of dramatic art and dramatic expression through creative drama methods within preschool education, drawing ideas for working with a work of dramatic art, an assessment of the children’s interest in working with a work of dramatic art by the kindergarten teachers, the relationship of kindergarten teachers towards dramatic art, and the opportunities for kindergarten teachers to acquire knowledge of dramatic art and creative drama within their undergraduate training or other forms of education. 366 kindergarten teachers responded to the items of the self-constructed questionnaire. It has been shown that the current state of the use of dramatic art and dramatic expression through creative drama methods in preschool education can be described as slightly above average. The opportunities for kindergarten teachers to acquire knowledge of dramatic art and creative drama in their undergraduate training or other forms of education were below average. The relationship of kindergarten teachers towards dramatic art can also be described as lower than average. The research clearly confirmed that the opportunities for acquiring knowledge from dramatic art and creative drama statistically significantly positively predict the relationship of kindergarten teachers towards dramatic art. Likewise, it was confirmed that the relationship of kindergarten teachers towards dramatic art statistically significantly positively predicts the use of works of dramatic art through creative drama methods in preschool education.
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47

Miroshnychenko, M. "Converting dramatic text to screen language." Culture of Ukraine, no. 83 (March 21, 2024): 83–89. http://dx.doi.org/10.31516/2410-5325.083.09.

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The purpose of the article. The study considers film adaptation as a way of interpreting a literary text written for stage production by means of cinematography. The article focuses on the role of the director, his own vision of events and characters in the process of transcoding a work of art into the language of cinema. The features of the dramatic text (monologues, dialogues, author’s remarks, description of characters, division of the work into scenes and acts), the means by which the dramatic work affects the viewer/recipient are highlighted. The article, based on the works of William Shakespeare “Macbeth” and Sophocles “Oedipus the King”, examines the originality of the transformation of a dramatic text into the language of cinema. The article outlines the theoretical basis of film poetry, which allowed directors and screenwriters to practically embody the film adaptation of stage drama. The results of the study showed that the dramatic text and its film interpretation indicate the author’s and director’s reception. The methodology. The author uses analysis (theoretical works on screenwriting and directing, research in the field of art history), observation (the creative process in cinema), comparison (the literary source and the finished film), systematization (techniques for transforming the dramatic literary source into a screen work), modeling the principles of directing and script. The results of the research can be used in educational programs of art universities and creative workshops, as well as in the practical work of directors, screenwriters, cultural scientists, and art historians. The paper provides examples that form the basis for practical principles that can help in creating film adaptations based on plays. The scientific novelty lies in the fact that the study represents a unique scientific contribution, carrying out a thorough study of the process of transforming a dramatic work into a film script. It is important to note that this research goes beyond the script, delving into the essence of the director’s vision. It provides for a comprehensive understanding and systematization of various directing techniques used throughout the entire film adaptation process.
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48

Saad Mansour, Dalia. "Antigone's Law: A Contemporary Dramatic Egyptian Version." British Journal of Translation, Linguistics and Literature 3, no. 1 (February 20, 2023): 50–51. http://dx.doi.org/10.54848/bjtll.v3i1.53.

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In the context of the adapted literary works, I watched a distinguished dramatic performance entitled Antigone's Law - a version of the ancient Greek Sophoclean play Antigone. The dramatic performance is the graduation project of a student at The American University in Cairo. The student acts with her colleagues in this dramatic performance directed by Dr. Dina Amin - the theatre professor at the American University in Cairo. The performance could be considered an Egyptian version rather than a literal adaptation as it embeds so many layers of meanings and different sociological dimensions that reflect the current Egyptian society.
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49

Struk, Ivanna Mykhaylivna. "Paremias as Means of Implementation of the Category of Intertextuality in the Dramatic Text of Bukovyna Writers." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 14, no. 24 (2021): 149–57. http://dx.doi.org/10.34079/2226-3055-2021-14-24-149-157.

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Paremic units as a means of intertextuality in the dramatic text of Bukovynian writers of the second half of the XIX – early XX centuries (Yu. Fedkovych, S. Vorobkevych, S. Yarychevsky) are analyzed in the article. Functional groups of paremias as a kind of communicative code of Bukovynians are singled out. The peculiarities of the use of set folk expressions in the dramatic works of Bukovynian writers in the corresponding communicative situation are examined. The system-forming category of a dramatic text is intertextuality – a versatile connection of the text with other texts in terms of content, genre and stylistic features, structure, formal and symbolic expression. The most realized intersemiotic relations in dramaturgy are the relations between verbal texts and texts that represent other semiotic systems. Within the theatrical performance there is a complementarity of verbal and musical within the song, painting and words, cinematic adaptation of the literary text, in particular, the transmission through visual images of verbal significance. In the DT of Bukovynian writers we pay special attention to paremias as a means of intertextuality. Paremia is the history of the Ukrainian people that is contained in concise but wise expressions. Paremias fully reflect all stages of the development of the nation's consciousness and historical events in the society. This is an example of the linguistic perfection of mankind. Paremias focus on the whole cognitive essence of man: history, experience, memory, imagination, worldview, sorrow and joy, suffering and happiness. Paremias are the highest manifestation of the folk spirit, the depths of folk philosophy, ethics and aesthetics in the dramatic works of Bukovynian writers. Drama (in comparison with other art forms) reproduces the vernacular, in which paremias are realized the most. In the works of Bukovynian playwrights we have focused on proverbs and sayings, distinguishing them into certain functional types of paremias that regulate relations between people in society; reveal popular ideas and observations on the development of society; characterize the nature of human speech; paremias, expressing peculiar moral and social precepts for person; paremia-assessment. On the other hand, paremic units recorded in the dramatic works of Bukovynian writers are a manifestation of the intertextuality of DT and certify the perception, understanding and knowledge of the human world. Paremias are the result of the collective speech activity of the people and they represent group and individual forms of human communicative behavior. They are kind of spiritual code of Bukovinians which regulates the life of each individual.
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50

Tang, Ziqing. "The Thematic Interpretation of Robert Brownings Renaissance Dramatic Monologue." Communications in Humanities Research 19, no. 1 (December 7, 2023): 141–47. http://dx.doi.org/10.54254/2753-7064/19/20231219.

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Robert Brownings dramatic monologue is a unique form in British Victorian literature. Its unique style reflects various characteristics of that time, and therefore, by analyzing Brownings dramatic monologues, various aspects of Victorian society and culture, as well as individual roles and struggles, can be deeply understood. Moreover, Brownings works provide rich materials and profound thinking for literary research, and hold an important position in the field of literature. In order to better explain the styles of his works, this article provides an in-depth analysis of Brownings two famous poems, My Last Duchess and The Bishop Orders His Tomb at Saint Praxeds Church. These current article examine characters, themes, and historical backgrounds, showcasing Brownings unique approach to Renaissance content. In addition, this study compared Brownings Renaissance dramatic monologues with three Renaissance poets: Shakespeare , John Milton and William Wordsworth , this comparative analysis highlights the uniqueness of Brownings perspective, the differences in understanding the Renaissance compared to his predecessors, and his contribution to the genre of dramatic monologues. In summary, this study aims to reveal Robert Brownings artistic views and the subtle differences in themes in his Renaissance dramatic monologues. It provides an understanding of Brownings unique position in literary schools and his contributions to the literary world.
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