Journal articles on the topic 'Governors – drama'
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1
Yastrebov-Pestritskiy, M. S. "CATHERINE'S INSTRUCTION TO GOVERNORS OF 1764: OBJECT OF SOURCE-STUDIES AND LINGUISTICS." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 190–96. http://dx.doi.org/10.35634/2412-9534-2020-30-2-190-196.
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The document considered in this article is from 1764, dated April 21, and is entitled "Instruction to governors". This Instruction, written in St. Petersburg personally by Catherine The Great, consists of eighteen articles, each of which prescribes to the governors of the Russian Empire how to act in a particular situation (the document also refers to non-emergency situations). The content of this historical document, as well as the language in which it is written, is of exceptional interest to the researcher. The personality of the progressive Empress is read in both of these factors. The content of the articles speaks of a domineering nature, a leader who shows ingenuity in taking care of the entrusted state. Thestyle of this documentindicates the desire of the Queen to get closer to the people linguistically, to strengthen the title of Russian language personality (as you know, Russian was not the native language of Catherine II). Today, in the XXI century, the reader has the opportunity to evaluate both the main meaning of the Instruction, and the features of the language, the idiostyle of the Royal author, who, as we know, was fond of both literature and drama.
2
Orr, Stanley. "Taft’s Chair, Serra Cross, and Other Props." Pacific Coast Philology 56, no. 1 (April 1, 2021): 99–119. http://dx.doi.org/10.5325/pacicoasphil.56.1.0099.
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As Carey McWilliams notes in Southern California Country: An Island on the Land (1946), theatricality has persisted as a central tactic of empire in the U.S. borderlands—from the rituals Spanish missionaries used to attract Native Americans to the historical dramas of Anglo-American boosters. The early decades of the twentieth century saw a number of plays that, in the words of Chelsea K. Vaughn, “romanticized the Spanish and Mexican periods of California history before assigning them comfortably to the past.” These include John S. McGroarty’s The Mission Play (1912) and Garnet Holme’s adaptation of Ramona (1923) as well as his original drama The Mission Pageant of San Juan Capistrano (1924). Such dramas were anticipated by ceremonial pageants that took place at Mission Revival hotels throughout the early twentieth century—to wit, Governor Theodore Roosevelt’s visit to the 1899 Rough Riders Reunion at the Castañeda Hotel in Las Vegas, New Mexico, and President William Howard Taft’s 1909 Columbus Day sojourn at the Glenwood Mission Inn, in Riverside, California. Each of these “hospitality pageants” casts the visiting dignitary as a typological protagonist—the Anglo-American “antitype” of the Spanish “type” embodied in conquistadores and/or missionaries.
3
Zanetti Negrini, Márcio, and Cristiane Freitas Gutfreind. "O rosto da multidão e a sobrevivência das imagens da classe trabalhadora." INTERIN 27, no. 1 (December 28, 2021): 120–38. http://dx.doi.org/10.35168/1980-5276.utp.interin.2022.vol27.n1.pp120-138.
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As imagens históricas das grandes mobilizações de trabalhadores durante os governos de Getúlio Vargas estão presentes na contemporaneidade por meio do cinema, que atua como um grande arquivo imagético e sonoro para a produção de saberes sobre vivências políticas e sociais. Nesse sentido, analisamos imagens do filme Getúlio Vargas – glória e drama de um povo, dirigido por Alfredo Palácios e lançado em 1956. O longa-metragem caracteriza-se pela utilização de imagens de arquivo provenientes de cinejornais produzidos ao longo dos diferentes governos de Getúlio Vargas. Elencamos o rosto da multidão como procedimento de análise do filme, que mostra a emoção como prática política da classe trabalhadora reunida em grandes atos públicos. As imagens observadas em Getúlio Vargas – glória e drama de um povo sobrevivem ao agenciar inspirações de resistência política no presente.
4
De Boer, Marvin E. "Governor Clinton and Educational Reform: The Use of Non- Language Based Symbolism." American Review of Politics 8 (January 1, 1988): 78–85. http://dx.doi.org/10.15763/issn.2374-7781.1987.8.0.78-85.
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By the close of the extra-ordinary session of the Arkansas General Assembly on November 10,1983, a significant program of public education reform had been endorsed and a one cent increase in the sales tax had been passed to fund it. Aside from the question of the value of this public policy for the future of education in Arkansas, scholars in a number of disciplines may well examine this situation to validate theory and to discover useful insights. Converging in this effort, are, at least, political scientists and communication scholars who view these concerns as a common domain. As noted political scientist Murray Edelman has observed, gestures and speeches make up the drama of the state (Edelman, 1964: 172).
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Filewod, Alan. "The Hand that Feeds." Canadian Theatre Review 51 (June 1987): 9–16. http://dx.doi.org/10.3138/ctr.51.002.
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By the time this article appears in print, the two winners (in English and French) of the 1986 Governor General’s Award for Drama will have been announced; but as I write this the juries have not yet met to select a short list of candidates. Late in the spring the Canada Council will plant a discreet notice in the media announcing the finalists in each of the prize’s four categories (fiction, non-fiction, poetry, and drama), and about a month later a second terse announcement will name the winners. The official gaze of Canadian culture will fix momentarily on literature, blink and pass on to things that really matter. Like Pay-TV.
6
Delisle, Jeanne-Mance, Yves Saint-Piene, Leatiote Lieblein, and Harry Standjofski. "A Live Bird in Its Jaws, Urban Myths: Anton & No Cycle." Canadian Theatre Review 77 (December 1993): 87. http://dx.doi.org/10.3138/ctr.77.019.
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The dramatic work of Jeanne-Mance Delisle deserves to be known by an English-speaking public. Regrettably, Un réel ben beau ben triste (1981), the work on which her reputation as a dramatist was built, remains untranslated. Thus Yves Saint-Pierre’s able rendering of the play for which she received the Governor General’s Award for drama in 1987 is all the more welcome.
7
Thompson, Judith, and Robert Nunn. "The Other Side of the Dark." Canadian Theatre Review 65 (December 1990): 61–62. http://dx.doi.org/10.3138/ctr.65.013.
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This text contains four plays by Judith Thompson: The Crackwalker (first produced in 1980); / Am Yours (1987); the radio play Tornado (first broadcast in 1987); and “Pink,” a brief monologue commissioned for the Arts Against Apartheid Benefit in Toronto (1986). It is her second published text in a decade to receive the Governor General’s Award for Drama (the first was for White Biting Dog in 1985).
8
McCoy, Jennifer. "O referendo na Venezuela: um ato em um drama inacabado." Novos Estudos - CEBRAP, no. 72 (July 2005): 5–18. http://dx.doi.org/10.1590/s0101-33002005000200001.
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O artigo enfoca o referendo revogatório realizado na Venezuela em agosto de 2004, que confirmou a permanência de Hugo Chávez na Presidência do país até o fim de seu mandato. Apontam-se o contexto político que nele culminou, no qual o governo Chávez foi alvo de intensas contestações por parte de seus opositores, e seus conturbados desdobramentos, com acusações de fraude e de atuação imparcial da autoridade eleitoral. A autora destaca a rígida polarização que permeou o processo, dividindo a sociedade venezuelana e impondo ao governo e à própria oposição o desafio de reconstituir o consenso nacional em torno dos interesses coletivos.
9
Messamore, Barbara J. "The Governor General and the Prime Ministers: The Making and Unmaking of Governments." Canadian Journal of Political Science 39, no. 3 (September 2006): 683–84. http://dx.doi.org/10.1017/s0008423906219978.
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The Governor General and the Prime Ministers: The Making and Unmaking of Governments, Edward McWhinney, Vancouver: Ronsdale Press; 2005, pp. 193.The political drama surrounding Paul Martin's minority government awakened media observers to the significance of the governor general, an office long dismissed as a ceremonial vestige of colonialism. There are remarkably few works that might enlighten them about the role. In general, one must seek for such understanding piecemeal through historical studies. This lays a heavy burden of responsibility on any new work purporting to, as Edward McWhinney puts it, define “contemporary ground rules for the exercise of the reserve, discretionary powers of the office” (19). In this not-so-crowded field, a work by a political scientist of McWhinney's considerable reputation could well emerge as the authoritative work on the subject. McWhinney offers it in this spirit, even appending some “Rules of Constitutional Prudence for a Contemporary Governor General.” But a note of caution is in order.
10
Salter, Denis. "Adjudicating the Dominion Drama Festival: Declarations of (In)Dependence." Canadian Theatre Review 62 (March 1990): 11–18. http://dx.doi.org/10.3138/ctr.62.002.
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The Dominion Drama Festival functioned as Canada’s national theatre from its much heralded inception in 1932 until its controversial reorganization as a non-competitive festival in 1971. Its founder, His Excellency the Right Honourable the Earl of Bessborough, Governor-General of Canada, conceived of the DDF in order to stimulate Canada’s cultural life and to help unite its diverse regions into the semblance of a single nation. From the start the DDF, despite its intended populist appeal, had an aura of aristocratic privilege, and single-mindedly devoted itself to an etiquette of high culture to which its competing amateur groups across the country were meant to aspire – even if they didn’t always know why or how they ought to do so.
11
Domingues, Petrônio. ""Constantemente derrubo lágrimas": o drama de uma liderança negra no cárcere do governo Vargas." Topoi (Rio de Janeiro) 8, no. 14 (June 2007): 146–71. http://dx.doi.org/10.1590/2237-101x008014005.
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A finalidade deste artigo é enfocar o drama vivido por Isaltino Veiga dos Santos (uma das principais lideranças do movimento negro brasileiro na década de 1930) no cárcere do governo Vargas. Apesar de preso pela Delegacia de Ordem Política e Social (Deops) sob a acusação de realizar atividades subversivas, Veiga dos Santos negou veementemente ser comunista. Assim, a questão central a ser respondida aqui é: ele realmente era comunista ou houve algum tipo de engano por parte do órgão de repressão do governo Vargas?
12
KUHN, JOSEPH. "Flesh and the Common Man: Robert Penn Warren's Huey Long Drama." Journal of American Studies 53, no. 4 (May 21, 2018): 953–71. http://dx.doi.org/10.1017/s002187581800049x.
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R. P.Warren's play about Huey Long,Proud Flesh(1937–39), is not a provisional draft ofAll the King's Men(1946) but a distinct work in its own right. Its conservative criticism of New Deal “common-man-ism” makes it unusual in the politicized literature of the 1930s. At the core of the play is a political symbolism of the flesh, which Warren derives from Shakespeare's representation of the Tudor doctrine of the king's two bodies. Governor Strong embodies the people through his second or immortal body, a dictatorial flesh that Warren resists by trying to articulate an existential “definition” of the self.
13
Saeed, Asmaa Mukaram. "The Triumph of Morality in William Shakespeare’s King Lear." Al-Adab Journal 2, no. 141 (June 15, 2022): 1–16. http://dx.doi.org/10.31973/aj.v2i141.3706.
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A set of relationships governs the kind of communications among people within one or more societies, of which most important is the one that occurs between children and their parents, especially fathers. Psychologically speaking, this kind of relationship is so significant insofar as it is the basis of the child’s personality inasmuch as it is the source of its character and action in social media.
Undoubtedly, the most significant factor in a drama is the social relationships among which child-father relationship is a recurring theme. William Shakespeare appears to be much more occupied in this sort of relationship which prominently and significantly figures out in most of his dramas such as Romeo and Juliet, Titus Andronicus and Hamlet. Most important is the child-relationship in King Lear. In Shakespeare’s plays children and parents interact in various ways, for they are headed to behave in such a way that leads to the resolution he intends to cite at the end of the play. As in life, conflicts among the family members that appear in his drama are very important whether resolved or not.
This paper mainly revolves around the child-father relationship in King Lear, especially the one between Lear’s daughters Goneril, Regan and Cordelia on the one hand, and their father on the other; and between Edmund and his father Gloucester as far as the theme of ingratitude is concerned. Many studies have been made on the filial relationships in this play, which have at the same time ignored the close relationship between the Qur’anic connotations attained by the dramatist and the essential themes in this play. To attempt such a study like this is to shed light on Shakespeare’s awareness of the Islamic representations reflected in King Lear as far as the theme of ingratitude is concerned. Many attempts have been made to analyze Shakespeare’s drama from the Islamic perspective; yet, this play has not got its due analysis from the Islamic viewpoints. This paper is to clearly view the themes of ingratitude, the children-father relationship, adultery, injustice, foolish behavior and brotherly relationships in terms of the relevant Islamic representations. When considering all the complications that surround the environment of the play it is recognized that the morality as reflected in the Holy Qur’an triumphs over evil powers and any other representations contrary to it.
14
Doran, Greg. "Family, Places and the Island: An Interview with Kent Stetson." Canadian Theatre Review 128 (September 2006): 53–57. http://dx.doi.org/10.3138/ctr.128.011.
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Kent Stetson has written many plays, which have been performed widely. In 2001, The Harps of God won the Governor-General’s Award for Drama. Currently, Stetson is working on a novel, an adaptation of his play New Arcadia. As well, his play Horse High, Bull Strong, Pig Tight is being translated into French for a planned tour of France. The following interview took place on 29 December 2005 over coffee and cinnamon rolls in Charlottetown, PEL Greg Doran: How did growing up on PEl shape your view of the world or the country? Is there a different sensibility?
15
Redin, Dmitry A. "The Pharaoh’s Dream or the Collapse of Kirill Naryshkin, the Fourth Moscow Governor." History 19, no. 8 (2020): 57–78. http://dx.doi.org/10.25205/1818-7919-2020-19-8-57-78.
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For the first time in historiographe the article reconstructs the personal history of Kirill Alekseevich Naryshkin. This research is based on the personal and private letters of Naryshkin to the Tsar and Prince Alexander Menshikov. The former are extracted from various documentary collections, first of all, “Letters and Papers of Peter the Great”, the latter are found by the author in the Russian Archive of Ancient Acts and have not been studied before. The reconstruction is focused on the history of the career that was built by K. A. Naryshkin during the first one and a half decades of the 18th century. He successfully and efficiently ruled over the northwestern counties of Russia, solving the difficult tasks of endowing the Russian army, reorganizing garrison regiments, mapping and supervising fortifications on the adjoining lands of Ingria and eastern Estonia as a chief commandant (ober-komendant). However, after being appointed to the post of Moscow governor in 1716, the career of Naryshkin collapsed. Problems at work, tensions with the Senate, harassment by investigative and administrative authorities coincided with a personal drama – the death of his wife and serious property losses. The author both in the context of the general administrative situation of the era, and in line with the then established system of informal ties surrounded by Tsar Peter analyzes the reasons for the collapse of a capable and energetic manager.
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Souza, Carlos Cézar Mascarenhas de. "OPERETA VERBAL DO DRAMA CARTESIANO NO TEATRO DA IMAGINAÇÃO TROPICAL." Revista de Estudos de Cultura 4, no. 1 (July 2, 2018): 91–106. http://dx.doi.org/10.32748/revec.v4i1.9501.
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O objetivo do presente artigo consiste em abordar dois aspectos que se manifestamna escritura da prosa-poética Catatau, do escritor Paulo Leminski, que são: a teatralidade e a musicalidade. E, ao mesmo tempo, visa articular uma leitura interdisciplinar com as contribuições da Psicanálise freudo-lacaniana sobre o problema da “identidade” a partir do discurso enunciado pela personagem Renatus Cartesius, duplo ficcional do filósofo francês René Descartes que, segundo a narrativa desta ficção literária, teria vindo ao Brasil durante o governo de Maurício de Nassau no período das “Invasões Holandesas” em Pernambuco.Palavras-Chaves: Literatura. Psicanálise. Teatro. Música. Identidade.
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Innes, Christopher. "Bridging Opposites – Drama and Science – in the Plays of John Mighton." Canadian Theatre Review 131 (June 2007): 20–26. http://dx.doi.org/10.3138/ctr.131.003.
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In terms of drama that deals with science, the award-winning Canadian playwright John Mighton is almost unique in being a practising scientist as well as a professional playwright. Indeed, he holds two PhD degrees: one in philosophy and one in mathematics. He has published a highly regarded book on mathematics, under the title of The Myth of Ability, and is the founder and coordinator of a highly innovative school program designed to help students who are having difficulty with math, called JUMP (which stands for “Junior Undiscovered Math Prodigies”). He has also written six plays to date, which have been staged widely across Canada as well as being performed in Europe, Japan and the United States. One of these, Possible Worlds, has been turned into a film by the Canadian director Robert Lepage; and Mighton is currently working with Lepage again, adapting for the stage a science book, titled The Elegant Universe: Superstrings, Hidden Dimensions and the Quest for the Ultimate Theory – a title that demonstrates the ambitiousness of Mighton’s aims. He has also won a number of prestigious national prizes, including no fewer than two Governor General’s Awards for Drama. And, in 2006, he was awarded the Siminovitch Prize (the most prestigious and valuable theatre award in Canada).
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Harvie, Jennifer. "The Nth Degree: An Interview with Guillermo Verdecchia." Canadian Theatre Review 92 (September 1997): 46–49. http://dx.doi.org/10.3138/ctr.92.010.
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Guillermo Verdecchia is an actor, writer, director, and translator. His work is seen and heard on stages, screens, and radios around the globe. Within Canada, he is probably best known for his one-person semi-autobiographical play Fronteras Americanas (Coach House, 1993), which won the Governor General’s Award for Drama in 1993, as well as a Chalmers Canadian Play Award, and which Verdecchia adapted into a short film entitled Crucero/Crossroads. With Daniel Brooks, he co-authored and performed in The Noam Chomsky Lectures, and with Marcus Youssef, A Line in the Sand. The Terrible But Incomplete Journals of John D. - Verdecchia’s play for an actor, a cello, a cellist, and a soundscape - is published in this issue of CTR.
19
Wallace, Bob. "Competition." Canadian Theatre Review 51 (June 1987): 3. http://dx.doi.org/10.3138/ctr.51.fm.
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While the focus of this issue is awards - a seemingly innocuous subject - the concerns expressed in most of our features reveal that the topic is complex and controversial. Although awards generally are given and received as honours, the context in which they occur seriously affects our perception of them. Thus Alan File~od can discuss the Governor General’s Awards for Drama as an annual “non-event” while Jason Sherman can analyze the Dora Mavor Moore Awards as an important promotional exercise for Toronto theatre. Considering the Chalmers Canadian Play Awards, on the other hand, Nigel Hunt explains why the “honour” means little in terms of prestige to some Canadian playwrights, even though the money attached to the award means a lot.
20
Schutte, Anne Jacobson. "“Such Monstrous Births”: A Neglected Aspect of the Antinomian Controversy." Renaissance Quarterly 38, no. 1 (1985): 85–106. http://dx.doi.org/10.2307/2861332.
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The Antinomian controversy of 1636-1638, the earliest major theological conflict in colonial New England, has attracted much scholarly attention. For many, the central figure in the drama, Anne Hutchinson, is a heroine, a champion of religious freedom against the bigoted theocratic Puritan establishment of Massachusetts Bay captained by the elder John Winthrop, Governor of the colony. Others have interpreted the Puritan prosecution of the Antinomians as perhaps regrettable but absolutely necessary; theological splintering might well have led, as most contemporaries believed it would, to a fatal political weakening of the young colony at a critical moment. One feature of the Antinomian episode, however, has not yet received the attention it deserves: the occurrence of two monstrous births, one in the midst of the controversy (although belatedly discovered) and the other at its denouement.
21
Lee, Mordecai. "Pop Culture as Civics Lesson: Exploring the Dearth of State Legislatures in Hollywood’s Public Sector." Public Voices 12, no. 2 (November 23, 2016): 49. http://dx.doi.org/10.22140/pv.85.
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While there is a growing body of academic literature on the cinematic depictions ofAmerican politics, there has not been a specific focus on the screen image of statelegislatures, the source of the laws that public administrators in state government are empowered by. This exploratory inquiry seeks to identify, describe and analyzeHollywood’s presentation of state legislatures. While only six movies and one television series met the criteria used for this investigation, these few examples conveyed, in part, the vividness and dynamism of the work of state legislatures. Of the seven examples, six occurred in the South and several put the legislature in a reactive role to the governor. Still, given Hollywood’s requirement for drama that necessitates exaggerating reality, these seven examples nonetheless were, in part, credible visual depictions of state legislatures doing their jobs.
22
B. McGinness, Anne. "Between Subjection and Accommodation." Journal of Jesuit Studies 1, no. 2 (March 12, 2014): 227–44. http://dx.doi.org/10.1163/22141332-00102005.
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This article provides an explanation for why José de Anchieta, S.J., the most influential missionary in early colonial Brazil, engaged in apparently contradictory evangelization practices. Anchieta’s belief that both subjection and accommodation were necessary in the process of converting natives is evidenced by his epic poem, De gestis Mendi de Saa, which praised Governor Mem de Sá for the peace he brought to Brazil. The climax of the poem is the death by cannibalism of a bishop. This act, in the minds of Anchieta and fellow Portuguese colonists, constituted a cause for just war. While Anchieta’s initial evangelization strategies were focused on taming “savages” by subjecting them to the laws of the colonial governor and altering their indigenous customs, after a relative state of peace was established in the Jesuits’ mission villages Anchieta was able to catechize with great attention to indigenous sensibilities. An analysis of his most popular play, On the Feast of St. Lawrence, highlights how European and indigenous customs combined on the stages of colonial Brazil. Through Anchieta’s poetry and drama, we see that there were many ways of proceeding among the Jesuits, and that their apparent contradictions are better understood in view of their ultimate purpose: converting souls.
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Postill, John, and Leonard Chrysostomos Epafras. "Indonesian Religion as a Hybrid Media Space: Social Dramas in a Contested Realm." Asiascape: Digital Asia 5, no. 1-2 (February 14, 2018): 100–123. http://dx.doi.org/10.1163/22142312-12340086.
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AbstractThe popularity of social media in Indonesia, along with the rise of political Islam, is changing the ways in which people engage with religious matters in the country. In this article, we deploy post-Bourdieuan field theory to explore Indonesia’s religious domain as a ‘hybrid media space’ – a social space mediated by old and new media agents interacting to produce viralized forms of public communication. We undertake this exploration through three viral controversies, or ‘social dramas’, triggered by a perceived breach of the religious space’s order. All three dramas involved political Islamists in contention with various political actors, namely the Muslim senator Fahira Fahmi, the West Sumatran atheist Alexander Aan, and the then governor of Jakarta, ‘Ahok’. These examples shed light on the current state of Indonesia’s religious space and its multiple mediations, as well as taking field theory into new communicative and religious terrain.
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Krizanc, John, and Vaclav Taborsky. "Prague." Canadian Theatre Review 56 (September 1988): 85–86. http://dx.doi.org/10.3138/ctr.56.019.
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The prehistory of Prague, which won the 1987 Governor General’s award for drama, is something of a theatrical joke by now. John Krizanc was writing a play “Magnificat” which grew to about 300 pages or six hours long. Both the writer and his director and friend Richard Rose realized it was unrealistic to proceed. Reading a book about Vaclav Havel and the Charter 77 at the time, Krizanc got an idea how to save at least part of the original project. Havel always wanted to write about people determined to improve the human condition, whatever the costs. Krizanc decided to write a play about a theatre company rehearsing that medieval play, that oversized “Magnificat.” He believed he could reduce the original work to one historical act out of a three-act contemporary play. In the end, in Prague Krizanc used only several lines from “Magnificat.”
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Tihanyi, Deborah. "Theorizing New Play Development in Canada." Canadian Theatre Review 115 (June 2003): 26–28. http://dx.doi.org/10.3138/ctr.115.005.
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I’d like to begin with some of my favourite stories about play development in Canada. The first takes place in 1907, the inaugural year of the Earl Grey Musical and Dramatic Competition, which was begun by then-Governor General Earl Grey to encourage Canadian theatre. Betty Lee, in Love and Whisky: The Story of the Dominion Drama Festival, recounts the development of that year’s winning play, Allan Danvers, devised and presented by a group from Winnipeg. At a loss to find a suitable script that would fit the allotted ninety-minute time limit, the man charged with the production, one Major Devine, decided that the group must create a new play. As Leyden Shiller, a cast member, tells it, “‘[t]he plot of Allan Danvers was blocked out by Major Devine over a plate of devilled kidneys in the old Marriagi Hotel. It was finished with the help of two collaborators, [local newspapermen] Ernest Beaufort and Wilson Blue‘” (qtd. in Lee 69).
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Knowles, Richard Paul. "Computers Keep Your Office Tidier." Canadian Theatre Review 81 (December 1994): 29–31. http://dx.doi.org/10.3138/ctr.81.006.
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Judith Thompson is author of numerous scripts for radio, television, and film, as well as four major stage plays. She has won several major awards for her writing, including two Governor General’s Awards, for White Biting Dog and for the collection, The Other Side of the Dark. Her plays have been produced across Canada (including Quebec, in French translation), the United States, Britain, Sweden (in translation,) and Australia. She is Associate Professor of Drama at the University of Guelph, where she teaches acting, directing, and playwriting. The following conversation with Richard Paul Knowles, who keyed in the script of Lion in the Streets and the script changes made during the extended script development workshop in the Spring of 1990 that led to its première production at the du Maurier World Stage, was recorded at Judith Thompson’s home in Toronto on 3 August 1994. The process of transcription and editing was made smooth, seamless, and historically invisible through the use of an IBM PC (WordPerfect 4.2).
27
Mendes, Joselma. "A INFÂNCIA ESQUECIDA: UMA ANÁLISE DA OBRA CAPITÃES DA AREIA DE JORGE AMADO." REVISTA DE LETRAS - JUÇARA 4, no. 1 (July 6, 2020): 406–20. http://dx.doi.org/10.18817/rlj.v4i1.2268.
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O presente artigo aborda a temática do menor abandonado no romance “Capitães da Areia”, de Jorge Amado que, de forma ousada e inovadora, não só assistiu às atrocidades da sociedade para com o menor, mas as denunciou através da sua arte, pois a obra é de cunho artístico, político e social. O autor relata os contrastes de uma época em que a sociedade e o governo de Salvador faziam descaso de suas crianças e as maltratavam em reformatórios. A referida obra, atualmente, é lida não apenas como registro social de uma época e de um lugar específico, mas como uma literatura que soube despertar a reflexão de um drama humano que ainda perdura: menores abandonados. Jorge Amado narra episódios intensos a respeito da vida de seus personagens, não só da vida triste, cheia de angústias dos menores por não terem uma família, sobretudo de suas conquistas, alegrias e amores. Nessa perspectiva, este trabalho apresenta o contexto histórico brasileiro da década de 30, época em que o romance foi escrito, destacando os principais acontecimentos políticos e sociais daquele período, realçando as características da literatura neorrealista, como instrumento de denúncia social, com o intuito de buscar o entendimento do que influenciou Jorge Amado.
PALAVRAS-CHAVE: Menor abandonado. Neorrealismo. Sociedade. Governo.
28
Batsi, Christian Dino, and Cilene Victor. "Cobertura jornalística da questão migratória na lente do jornalismo humanitário e de paz." STUDIES IN MULTIDISCIPLINARY REVIEW 3, no. 3 (September 5, 2022): 762–75. http://dx.doi.org/10.55034/smrv3n3-023.
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O presente trabalho tem como objetivo identificar em que medida o jornalismo humanitário e de paz se apresentam como uma alternativa aos critérios de noticiabilidade adotados pela editoria de internacional na cobertura da questão migratória. Como recurso metodológico, a pesquisa recorreu à análise de conteúdo das reportagens da editoria de internacional publicadas nos sites da BBC Brasil e El País Brasil, no período de 1 de dezembro de 2018 a 30 de junho de 2019. O estudo apontou o critério “drama” como mais adotado pelos dois veículos para a produção das matérias sobre o tema da migração. Aparecem ainda com destaque o critério “proeminência” apenas na BBC Brasil e a “proximidade” com força no El País Brasil como critérios mais presentes nas reportagens analisadas. “Governo” e a “justiça” foram os critérios que não tiveram uma presença marcante nos dois portais.
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Horn, Anne Layman. "Farcical Process, Fictional Product: Thackeray's Theatrics in Lovel the Widower." Victorian Literature and Culture 26, no. 1 (1998): 135–54. http://dx.doi.org/10.1017/s106015030000231x.
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Although long slighted by critics, Lovel the Widower should be recognized as the most overtly theatrical work we have from one of the nineteenth century's most theatrical writers. Adapted for the Cornhill Magazine from Thackeray's failed drama, The Wolves and the Lamb, Lovel is narrated by a character who calls himself the “Chorus of the Play” and tells the story of a governess who must hide the fact that she was once an actress. Thackeray published the story to keep the Cornhill's readers entertained while he began work on his last completed novel, The Adventures of Philip. As a piece of occasional journalism, Lovel therefore shares a closer kinship with Thackeray's other periodical writings and Christmas books than it does with his mature novels. Not destined to be the newly-launched Cornhill's chief fictional attraction (that honor went to Trollope's Framley Parsonage), Lovel actually functioned in the magazine as the literary equivalent of a theatrical comic afterpiece.
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Gondim, Linda M. P. "A favela depois do Estatuto da Cidade: novos e velhos dilemas à luz do caso do Poço da Draga (Fortaleza-CE)." Revista Brasileira de Estudos Urbanos e Regionais 10, no. 2 (November 30, 2008): 97. http://dx.doi.org/10.22296/2317-1529.2008v10n2p97.
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O trabalho discute intervenções do Poder Público em favelas, a partir do caso do Poço da Draga, comunidade existente na Praia de Iracema, em Fortaleza (CE). O projeto de construção de um centro de feiras e eventos no local incluía a realocação dos favelados no bairro, em apartamentos construídos pelo governo estadual. Analisa-se o projeto de realocação do ponto de vista dos moradores, com destaque para a participação popular e o papel das ONGs. Consideram-se os moradores como sujeitos sociais concretos, e não como parte de uma idealizada “comunidade”. Assim, evidencia-se sua grande heterogeneidade em termos de situação familiar, renda, gênero, etc., bem como sua capacidade de formular alternativas que atendam a seus interesses.Palavras-chave: urbanização de favelas; Poço da Draga; Praia de Iracema; habitação popular; participação. Abstract: This paper discusses state intervention in favelas, focusing on the case of Poço da Draga, a squatter settlement located on Iracema beach, in Fortaleza. A project for building a convention center in this locality included the moving of squatters to apartments to be built in the neighborhood by the state government. The moving is analyzed from the squatters viewpoint, emphasizing popular participation and the role of NGOs. Squatters are considered as concrete social subjects, rather then a part of an idealized “community”. Thus, it becomes evident that they are heterogeneous in terms of family situation, income, gender, etc. They also can formulate alternatives that meet their interests. Keywords: urbanization; Poço da Draga; Iracema Beach; low income housing; participation.
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Lybo, O. L. "Characteristics of Kharkiv theatre development in1840–1860’s (on the materials of State Archive of the Kharkiv Region)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 126–41. http://dx.doi.org/10.34064/khnum1-51.07.
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Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar Russia. Research and publications. The subject of Kharkiv theatre as a part of Ukrainian theatre history development in noted period was highlighted in XIX century by the famous writer, literary critic, culture and public activist Hrigoriy Kvitka-Osnovianenko and by Mykola Cherniaiev – a journalist, literary and theatre critic, reviewer of the newspaper “Yuzhnyi krai” (one of the largest provincial newspapers of the XIX century), where his articles about history of theatre organization in Kharkiv was published. In the XX century this period is covered by famous theatre critics: Alexander Klinchin (in the monographs about the Ukrainian theatre prominent figures Mykhailo Shchepkin, Mykola Rybakov, Liubov Mlotkovska), Arkadii Pletniov (in the study “At the origin of the Kharkiv theatre”), Rostyslav Pylypchuk (in “Materials about the Ukrainian theatre history. From the foundation to the beginning of the twentieth century”), Yu. Polyakova (in numerous publications and the preface to M. Cherniaiev’s book “From Kharkiv’s theatrical antiquity”); ethnographers Andrii Paramonov, Volodymyr Titar (in “The materials for the Kharkiv Theatre history of 1780–1934”). The objective of this study is to attempt to supplement the scientific research of famous theatrical scholars (primarily A. Pletnov and M. Cherniaiev) with materials that were found in the Kharkiv region State Archives. The main material. Entrepreneur Liudvig Mlotkovskyi, who headed the Kharkiv theatre from the autumn of 1834 to the spring of 1843, played a significant role in the theatre history of above mentioned period. In 1839 Mlotkovskyi was allocated a piece of land in Kharkiv free of charge to build a theatre. The first stone building of the theater for 1020 seats was opened in 1841. Furthermore, the land was allocated to Mlotkovskyi’s ownership, he was obliged to comply with some terms among which was compulsory that the theatre director was appointed by the governor. As the first director of the new theatre the Count Hendrikov Oleksandr Ivanovych (1806–1881) was elected and approved. Unfortunately, no materials or documents about Hendrikov’s activity in the theatre were found. However, it is known that during the time of his directorship, due to difficulties and debts, the entrepreneur Mlotkovskyi left Kharkiv. The theatre’s premises were first leased to touring troupes (companies), and in 1853, Mlotkovsky donated it to his daughter, the dramatic actress Vera Liudvygovna Mlotkovska-Diukova. Thus, further theatrical activities in Kharkiv were connected with the Diukov’s entrepreneurial family and the managers of the theatre: Alferaki, Petrovskyi, Lviv and Shcherbyna. They faced the difficult task of theatre revival and getting back its fame. Mykola Dmytrovych Alferaki (1815–1860), Collegia Advisor, a nobleman, held the post from 1845 to 1849. As the director, he paid the debts and additionally invested his own money for the theatre development and improvement. From 1849 to 1856 Engineer-Lieutenant Colonel Petrovskyi was the director of the theater. Archival materials describing Petrovskyi’s directorship were located. He tried to save the situation by means of more democratic drama repertoire that was interesting for general public. Mykhailo PavlovychLvov (1819–1867) was the next theatre director appointed. He was an architect, the member of St. Petersburg Academy of Arts, the professor of Kharkiv University. Lvov purchased costumes, scenery, and library; he spent some money to restore the theatre premises. In addition to being in charge of the Kharkiv Theatre, Lvov rented Poltava Theatre and the railway station for 8 years. What his administration was like is not definitely known, but he served as the director to 1857. At the end of 1850’s and beginning of 1860’s the post of the theatre director was taken up by an experienced entrepreneur Ivan Oleksandrovych Shcherbyna (1821–1869). He had the theatre boxes reconstructed, started a permanent ballet company that worked in the theater for 3 years, alternating ballet performances with spectacles of touring companies and the permanent drama troupe stage enters. The time of Shcherbyna directorship at the Kharkiv Drama Theatre appeared to be the most favourable for the Ukrainian repertoire, when along with Russian drama products the plays by Ukrainian authors were staged, such as I. P. Kotliarevskyi, H. F. Kvitka-Osnovianenko, D. Dmytrenko etc. Conclusions. Basing on previously published studies of famous theatre critics and ethnographers and attempting to combine the results of their research with the materials found in Kharkiv State regional archive we conclude: Kharkiv was one of the provincial theatre art centers in the XIX century. Not only theatrical entrepreneurs, but also provincial authorities took part in theatre formation and development. The latters tried to control the repertoire policy through the theatre directors appointed by them. Despite the discouraging conditions connected with the difficulties and censorship oppression some progressive theatre directors, such as Petrovskyi and Shcherbyna, ignored the bans and staged prohibited by censorship dramas. It happened not only for the sake of commercial benefits, but also because the banned drama pieces were the most interesting for the general population, it were modern, democratic and satisfied the needs of the audience. This study does not claim to be complete. Its objectives are to combine some historical finds with modern researches about Kharkiv theatre development, and partly fill in the gaps relating to the activity of the entrepreneurs and directors who headed the Kharkiv theatre in 1840–1860s; the work in this direction will continued.
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Matias, Carlos Dos Passos Paulo, and João Henrique Zanelatto. "Da corte ao Estado Novo: singularidades em Mozart e Villa-Lobos." Dimensões 38 (June 30, 2017): 98. http://dx.doi.org/10.23871/dimensoes-n38-16808.
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Quase um século e meio separa o nascimento de Mozart do nascimento de Villa-Lobos. Na tragédia de Bajazzo, Norbert Elias nos mostra, com maestria, o drama da vida de um músico na corte de Salzburgo. Sua análise sociológica busca compreender um pouco da vida e da obra de Mozart, desde sua formação musical, proporcionada pelo pai, até o rompimento do músico com a “sua” corte e sua corajosa busca pela independência artística em Viena. A tragédia villalobiana é outra, mas não menos dramática. Villa-Lobos não foi músico de uma corte absolutista, como foi Mozart; não sofreu pensando em como sair de serviçal da corte para tornar-se livre, um músico do mundo. No entanto, os dois sofreram a angústia de buscar um lugar na sociedade de suas épocas. Mozart queria sair do julgo do mecenas, e o fez; Villa-Lobos queria ser empregado do mecenas/governo, e o fez. Para compreender e retomar este debate, trabalhou-se com as fontes de diálogo os autores Norbert Elias, Vasco Mariz, Bruno Kieffer, José Miguel Wisnik, Anália Cherñavsky e Arnaldo Contier.
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Souza, Camila Diogo de, Claudia Rodrigues, and Marcelina Das Graças de Almeida. "Editorial: v.05, n.10, jul./dez.2020." Revista M. Estudos sobre a morte, os mortos e o morrer 5, no. 10 (December 30, 2020): 184. http://dx.doi.org/10.9789/2525-3050.2021.v5i10.184-187.
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Ainda que seja temática cada vez mais abordada nas diferentes áreas do conhecimento e setores da sociedade, nunca se falou tanto sobre a morte, os mortos e o morrer como no atual contexto pandêmico desse ano de 2020. Com distintas gradações, os diversos países, cidades e localidades vivenciam o drama da quantidade excessiva de mortes, as formas de publicização dos números e os sub-registros, seus impactos sobre o sistema funerário, o desdobramento da legislação restritiva em torno dos ritos fúnebres e seus efeitos sobre a vivência do luto. A partir da delicada e complexa questão dos registros e sub-registros, e da contabilidade do montante de mortos pela pandemia, especialmente no Brasil – cujo governo federal adota uma política neoliberal de direita com postura negacionista em relação à ciência e administração da pandemia –, escolhemos o tema da gestão estatal dos mortos, para reflexão de nossos leitores e leitoras. Mais especificamente, trata-se da abordagem das formas institucionalizadas de construção das desigualdades socioeconômicas e culturais, por meio do tratamento dos mortos, com o objetivo de auxiliar a análise e compreensão dos inevitáveis impactos dessas desigualdades acerca da gestão dos mortos em decorrência da Covid-19.
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Souza, Camila Diogo de, Claudia Rodrigues, and Marcelina das Graças de Almeida. "Editorial: v.05, n.10, jul./dez.2020." Revista M. Estudos sobre a morte, os mortos e o morrer 5, no. 10 (December 30, 2020): 184–87. http://dx.doi.org/10.9789/2525-3050.2020.v5i10.184-187.
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Ainda que seja temática cada vez mais abordada nas diferentes áreas do conhecimento e setores da sociedade, nunca se falou tanto sobre a morte, os mortos e o morrer como no atual contexto pandêmico desse ano de 2020. Com distintas gradações, os diversos países, cidades e localidades vivenciam o drama da quantidade excessiva de mortes, as formas de publicização dos números e os sub-registros, seus impactos sobre o sistema funerário, o desdobramento da legislação restritiva em torno dos ritos fúnebres e seus efeitos sobre a vivência do luto. A partir da delicada e complexa questão dos registros e sub-registros, e da contabilidade do montante de mortos pela pandemia, especialmente no Brasil – cujo governo federal adota uma política neoliberal de direita com postura negacionista em relação à ciência e administração da pandemia –, escolhemos o tema da gestão estatal dos mortos, para reflexão de nossos leitores e leitoras. Mais especificamente, trata-se da abordagem das formas institucionalizadas de construção das desigualdades socioeconômicas e culturais, por meio do tratamento dos mortos, com o objetivo de auxiliar a análise e compreensão dos inevitáveis impactos dessas desigualdades acerca da gestão dos mortos em decorrência da Covid-19.
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Santos Filho, Andrelino Ferreira dos. "NUANÇAS DA PAIXÃO NA MEDEIA DE EURÍPIDES." Sapere Aude 10, no. 19 (July 14, 2019): 10–19. http://dx.doi.org/10.5752/p.2177-6342.2019v10n19p10-19.
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A Medeia de Eurípides é uma das mais importantes peças do teatro antigo. A complexidade do texto e a fertilidade das possibilidades interpretativas tem despertado grande interesse dos estudiosos. Neste artigo, pretendo analisar algumas noções que compõem o núcleo do irracional tipificado na protagonista (Medeia). Trata-se de demonstrar a insuficiência do emprego do termo pathos para qualificar o comportamento da personagem no drama. O problema consiste nas parcas ocorrências do referido vocábulo para sustentar o sentido do que seja agir pelo irracional. A fim de ampliar a compreensão do que rege as cenas marcadas por forças irracionais, serão levadas em consideração as noções de ódio e cólera/ira, entre outros. Para proceder a análise textual, foram utilizadas três traduções em português, a saber, a tradução de Mário da Gama Kury, a tradução de Jaa Torrano e a tradução de Maria Helena da Rocha Pereira, além do texto grego publicado pela editora ateniense Kaktoz.PALAVRAS-CHAVE: Medeia. Tragédia. Irracional. Ira.ABSTRACTEuripides’ Medea is one of the most important plays of ancient theater. The complexity of the text and the fertility of interpretive possibilities has aroused great interest among scholars. In this article, I intend to analyze some notions that make up the core of the irrational typified in the protagonist (Medea). This is to demonstrate the inadequacy of the use of the term pathos to qualify the behavior of the character in the drama. The problem consists in the few occurrences of pathos to sustain the meaning of what is to act by the irrational. In order to broaden the understanding of what governs scenes marked by irrational forces, notions of hatred and anger, among others, will be taken into account. To proceed with the textual analysis, three Portuguese translations are used. They are: the translation of Mário da Gama Kury, the translation of Jaa Torrano and the translation of Maria Helena da Rocha Pereira, and also, the Greek text published by the Athenian Kaktoz publisher.KEYWORDS: Medea; Tragedy; Irrational; Anger.
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Kolobaeva, Lidia A. "Russian historical novel in a new way: “Tobol” by Alexey Ivanov." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 376–89. http://dx.doi.org/10.22363/2312-9220-2019-24-3-376-389.
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The article aims to find out the deep artistic meanings of the novel by A. Ivanov “Tobol” to show the originality and significance of its structure, modifying in many ways the genre of the historical novel. This is evidenced by the author's tangible focus on the possible transformation of the novel into a form of cinema - accented visual imagery of the novel's components (landscapes, architectural sketches, paintings of everyday life) and, most importantly, the exciting drama in the development of the plot, in all its lines, with a powerful energy of actions and dialogues of the characters (the tragic conflict of the Siberian governor Gagarin and tsar Peter I, the clash of Remezov and Gagarin, the struggle of schismatics, the resistance of the Voguls in their conversion to Christianity, the war with the Dzungars). The article suggests that the Siberian reality of the Peter the Great era is considered by the writer from a very deep angle: Siberia, with its many national and socio-historical identities (pagans-Voguls, nomadsDzungars, Cossacks, etc.), with their inevitable struggle, is seen as the “key to Russia”, to understanding the complexity of its historical destiny. An important task is also to pay attention to the connection in the novel of the forms of realistic narrative with the magic of the wonderful, fantastic (in the images of the pagan view of the world of many characters), bringing together the work of A. Ivanov with modern magical realism in literature.
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Filewod, Alan. "Theatrical Nationhood in Radical Mobility: The Farm Show Futures and the Banner / Ground Zero Collaborations." Canadian Theatre Review 125 (January 2006): 9–15. http://dx.doi.org/10.3138/ctr.125.002.
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The ghosts of The Farm Show haunt Canadian theatre still, more than three decades after it established a template for collectively created intervention theatre by moving into a rural township, recording its meetings with local farmers and their families on audiotape and then turning those exchanges into a reflexive theatrical report that “bounces along one way or another and then it stops” (Theatre Passe Muraille 19). Most recently and famously, the making of The Farm Show has provided the narrative platform for Michael Healey’s wildly successful play The Drawer Boy, which since its premiere in 1999 has won the Governor General’s Award for Drama and has been produced in theatres across Canada, the United States, Great Britain and New Zealand. The Drawer Boy testifies to the formative impact of The Farm Show as a critical point at which our present idea of “Canadian theatre” emerged as a cultural practice. The line between the two plays tells a story of cultural growth, of radical youth constructing a theatre method that has since developed into a professional system capable of exporting its history in plays like The Drawer Boy. But there is another line that leads from The Farm Show into the present and that offers a more radical narrative. Following that line, we can see how one signal historical moment can produce two radically different theatrical futures, which speak to opposing understandings of the relationship of theatre culture to national presence.
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Bhat, Sheetala. "Making Home, Unmaking Domesticity: Love, Joy, and Other-than-Human Worlds in Kamloopa." Theatre Research in Canada 44, no. 2 (December 1, 2023): 191–209. http://dx.doi.org/10.3138/tric-2023-0012.
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Kamloopa: An Indigenous Matriarch Story by Kim Senklip Harvey (Syilx and Tsilhqot’in) which won the 2020 Governor General’s Literary Award for English-language drama, has been discussed by critics and scholars especially regarding Harvey’s decision not to invite critics to write formal reviews of the recent production in Toronto and to only invite “love letters” from Indigenous women for the premier production in Vancouver. This article offers a reading of Kamloopa that unpacks how Harvey’s refusal and radically different kind of invitation to engage is in continuation with the world of Kamloopa. It focuses on celebrations of love and joy as assertions of cultural and bodily sovereignty rooted in Indigenous women’s love for each other and their relationships with the more-than-human world. Following the three women characters who leave their “white” apartment in East Vancouver to go on a road trip to the largest powwow on the West Coast, the article studies how Kamloopa disavows the politics of the colonial domestic as it relates to the history of violence on Indigenous women in residential schools and the MMIWG2S crisis. It discusses how the women in Kamloopa also reject confinement in colonial narratives of violence that are tied with the material confinement of domesticity. The article argues that Harvey’s refusal of formal theatre reviews is in continuity with the play’s resistance of settler colonial “domestication” of Indigenous women’s lives, relations, and art.
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Alves, Andréa Barbosa, and Desirée Cipriano Rabelo. "Acesso à água potável no Brasil: de ações pontuais à política social / Access to potable water in Brazil: from timely actions to social policy." Argumentum 10, no. 3 (December 23, 2018): 286–301. http://dx.doi.org/10.18315/argumentum.v10i3.19679.
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No Brasil, o Semiárido do Nordeste sempre foi pautado pela falta de chuvas e pelos grandes dramas da população afetada. Situação que, historicamente, o Governo Federal tratou com medidas pontuais, descontínuas e que reforçavam as desigualdades locais. A partir de 2003, sob forte pressão da sociedade civil, ocorre uma mudança: o principal programa de apoio às famílias rurais de baixa renda com dificuldades de acesso à agua passa a ser coordenado pelo Ministério de Desenvolvimento Social, integrando sua Política de Segurança Alimentar. Contudo, com as secas e estiagens tornando-se cada vez mais frequentes, inclusive em outras regiões do País, a ação do Estado precisa diversificar-se. A partir do pensamento marxista, este artigo discute como a transformação dos recursos hídricos em mercadoria e seu uso intensivo pelo capital acabou por gerar uma nova expressão da questão social: a exclusão hídrica.
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Souza, Onaldo, André Maia Gomes Lages, Mariah Tenório de Carvalho Souza, and Wanessa Cavalcante de Souza. "Custo do tratamento químico de resíduos agrícolas com solução de uréia na alimentação de ruminantes." Pubvet 2, no. 12 (December 2008): 1–14. http://dx.doi.org/10.31533/pubvet.v02n12a464.1-14.
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Em determinadas regiões do Brasil não é propícia a exploração de ruminantes apenas com o pasto, devido a escassez na produção de volumosos em zonas áridas, necessitando intervenção técnica para o sucesso da produção animal. O Estado de Alagoas, assim como outros do Nordeste brasileiro padece todos os anos de carência de volumosos em épocas secas, afetando de forma trágica as cadeias produtivas conseqüentes da produção de ruminantes. Os nove meses de estiagem proporcionam o êxodo rural e sérios problemas sociais aos governos Municipais, Estaduais e Federal. O tratamento químico de resíduos agrícolas para uso na alimentação animal representa uma forma de alimentação alternativa, capaz de minimizar e/ou solucionar estes graves problemas e a falta de alimentos volumosos para os ruminantes, em épocas de escassez de chuvas, quando eleva o índice de mortalidade dos rebanhos, levando descrédito ao produtor rural e causando graves problemas sociais, todos os anos (SOUZA et al. 2002). Os resíduos agrícolas, representam um importante recurso forrageiro para os animais em períodos de seca, além de proporcionar a sustentabilidade ambiental, evitando as queimadas que ocorrem periodicamente. O tratamento químico com uréia é uma das melhores formas para enriquecer e melhorar o valor nutritivo destes materiais fibrosos. Os produtores de todo o território nacional têm insistentemente buscado soluções para resolver o drama da escassez de alimentos para ruminantes e a utilização de resíduos tratados quimicamente pode resolver este problema, já que a produção de cana-de-açúcar coincide com o período de escassez de forragem em determinadas regiões, por ocorrência das secas cíclicas e periódicas.
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Kinasih, Putri Rindu, and Elisabeth Marsella. "An Analysis of Television Satire on Kiky Saputri’s Roasting in Lapor Pak!" Journal of Pragmatics and Discourse Research 3, no. 1 (February 14, 2023): 1–18. http://dx.doi.org/10.51817/jpdr.v3i1.282.
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Humor has always been and will remain to be part of the political landscape, even though it may take a temporary break from time to time. The range of political humor is immense, including roasting comedy. In general, past research has succeeded in showing the importance of roasting comedy and how it employs the figure of speech. The problem is although the roasting is broadcast on national television, none of them has examined it using the theory of television satire. Thus, this research aimed to analyze the presupposition of roasting comedy and to study the roasting comedy by using the heuristic structures of television satire, which include: space, target, rhetoric, media, and time. The writers used qualitative methods to analyze the data using critical discourse analysis (CDA). This study used Kiky Saputri’s roasting video of DKI Jakarta governor Anies Baswedan in Lapor Pak! comedy program. The video was taken from the YouTube account Trans7 Official entitled “Kiky ROASTING Anies Baswedan, Pasukan Auto Jantungan! | LAPOR PAK! (09/11/21) Part 4”. This program was selected for its popularity and has won the Indonesian Television Award (ITA) 2021 in the most popular non-drama primetime program category. Among the program's episodes, this episode has become viral with more than 6.8 million views and was widely published in major national news portals. From the analysis, it can be concluded that Kiky Saputri’s roasting comedy has a specific pattern. Furthermore, because the Lapor Pak! program fulfilled Jones' heuristic structure, Kiky Saputri's roasting Anies Baswedan attracted much attention.
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Al-Khalili, Raja Khaleel, Baker M. Bani-khair, Abdullah K. Shehabat, Ali Al Nawaiseh, and Issam Mostafa Ta’amneh. "The Immigrant Critic as a Writer: Spirituality in Mikhail Nu’ayma’s Ayoub (1967)." Theory and Practice in Language Studies 13, no. 8 (August 1, 2023): 2019–25. http://dx.doi.org/10.17507/tpls.1308.18.
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In the early twentieth century, many Arab American writers who were recent immigrants to the United States considered themselves pioneers with a global vision. Many of them were suffering from feelings of alienation because they came from poor backgrounds and escaped to find that capitalism governs everyday living. Therefore, the main interest of the leading writers was promoting more spirituality in their literary works, especially by those who were writing primarily in Arabic. Nu'ayma who wrote in Arabic wanted to emphasize the importance of following a spiritual path in life in modern-day living in his play Ayoub. As a writer and a critic, Nu’ayma believed in the mystical aspects of literature, the power of language, and the importance of literary works in imparting spirituality in society. Living in the United States, he knew many Arab American, Russian, and American critics and writers with whom he shared literary interests and critical thoughts. In Nu’ayma’s book The Ghirbal, he put forth critical ideas that he believed should govern literary composition. His mystical play, Ayoub (1967), was constructed as a literary model that illustrated the importance of rejuvenation in the Arabic language, the significance of mysticism in drama, and the role of literature in transforming society. The following paper traces Mikhail Nu’ayma’s critical views in his play, Ayoub (1967) and discusses the theme of alienation in relations to Nu’ayma’s spiritual outlook.
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Cho, Young Chul. "A Study on the Achievement of Judo in Korea during the Japanese Colonial Period." Taegu Science University Defense Security Institute 6, no. 3 (June 30, 2022): 37–49. http://dx.doi.org/10.37181/jscs.2022.6.3.037.
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This study examined and discussed the historical significance of the developmental aspects of the Kodokan Judo in the process of inflow of Kodokan Judo by forced suppression after the establishment of YMCA Judo in 1906 in Korea with an objective perspective and drew conclusions. The establishment of Judo Korea was officially established on November 22, 1917 by the forced suppression of the Chosun Judo Department in the YMCA Hwangseong Christian Youth Association in 1906. This group was a group by political means of the Chosun Governor-General and the Japanese imperialists.,On the other hand, the Judo part of the Joseon Dynasty formed a momentum for the commercial spirit in the Judo part of the YMCA Hwangseong Christian Youth Association for the sake of national revival. In other words, with the claim of Lee Sang-jae, a teacher of Vietnam, who is training 100 people in the terrible times of the Japanese colonial rule, the national leaders did not spare all physical support to inspire the business spirit through Judo first, and the indifference of the drama in the emerging military schools became the starting point for the independence movement. In addition, the first Judo tournament was held on October 19, 1929, with five organizations participating, but the last tournament was abolished by Japan on October 12, 1935, as the 7th meeting. However, Lee Sun-gil won the championship and runner-up in 1930s and 1940s, and Seok Jin-kyung not only won the solo exhibition of the Judo Championship in July 1933, but also the Chosun Judo re-defeated Japan and gave a national spirit of business as a country. Thus, it will be possible to present the historical value that achieved the grandeur through the national thought of Judo in Korea during the Japanese colonial period and the academic plan of Judo history education.
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Cerecedo, Alicia Civera, Ana Clara Bortoleto Nery, Cláudia Engler Cury, Evelyn de Almeida Orlando, and José Gonçalves Gondra. "2020 na História da Educação." Revista Brasileira de História da Educação 20, no. 1 (November 5, 2020): e139. http://dx.doi.org/10.4025/rbhe.v20.2020.e140.
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Este ano é certamente um marco para a História da Educação. Diferentes acontecimentos caracterizam o ano e a revista em um momento ambíguo. Temos conquistas que merecem ser relembradas e comemoradas pelo que representam em nossa história, conquistas divulgadas e guardadas nas tantas páginas da revista ao longo desses 20 anos, que inspiram a comunidade de historiadoras e historiadores da educação a continuar no ofício de interrogar, produzir e divulgar conhecimento. Lamentavelmente, a comemoração de duas décadas de existência da RBHE se dá em meio a um tempo obscuro, permeado de dramas de naturezas muito distintas. Em meio a uma crise sanitária que solapou o mundo em 2020, infligindo a necessidade de isolamento social e outras tantas rotinas de prevenção, vivemos no Brasil uma crise política, acentuada com o resultado das últimas eleições presidenciais de 2018, com uma agenda composta por série de medidas voltadas para supressão e/ou redução de direitos de crianças, jovens, trabalhadores e cidadãos com os mais diversos pertencimentos; bem como para a negação do valor da ciência. Essa crise vem produzindo fortes rebatimentos na sociedade, na educação, na cultura, na economia; evidenciando um projeto de governo que não apenas ignora o valor da vida, como age cotidianamente contra ela, sobretudo em relação aos mais vulneráveis (...).
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Ostrowska, Elżbieta. "Bodily Violence and Resistance in Wojtek Smarzowski’s Rose (Róża, 2011)." Baltic Screen Media Review 6, no. 1 (December 1, 2018): 38–55. http://dx.doi.org/10.2478/bsmr-2018-0003.
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Abstract The article argues that Wojtek Smarzowski’s film Rose (Róża, Poland, 2011) undermines the dominant bigendered logic of screen death and suffering in the Polish films depicting the experience of World War II. In these films, there is a significant absence of images of female suffering and death, which is striking when compared to the abundant images of wounded and dying male bodies, usually represented as a lavish visual spectacle. This unrepresented female death serves as a ‘structuring absence’ that governs the systematic signifying practices of Polish cinema. Most importantly, it expels the female experience of World War II from the realm of history to the realm of the mythical. This representational regime has been established in the Polish national cinema during the 1950s, especially in Andrzej Wajda’s films, and is still proving its longevity. As the author argues, Smarzowski’s Rose is perhaps the most significant attempt to undermine this gendered cinematic discourse. Specifically, the essay explores the ways in which Smarzowski’s Rose departs from previous dominant modes of representation of the World War II experience in Polish cinema, especially its gendered aspect.1 Firstly, it examines how Rose abandons the generic conventions of both war film and historical drama and instead, utilises selected conventions of melodrama to open up the textual space in which to represent the female experience of historical events. Then the author looks more closely at this experience and discusses the film’s representation of the suffering female body to argue that it subverts the national narrative of the war experience that privileges male suffering. A close analysis of the relationship between sound and image in the scenes of bodily violence reveals how the film reclaims the female body from the abstract domain of national allegory and returns it to the realm of individual embodied experience. The article concludes that Rose presents the female body as resisting the singular ideological inscription, and instead, portrays it as simultaneously submitting to and resisting the gendered violence of war.
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Johanyak. "Shifting Religious Identities and Sharia in Othello." Religions 10, no. 10 (October 20, 2019): 587. http://dx.doi.org/10.3390/rel10100587.
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Despite twenty-first century research advances regarding the role of Islam in Shakespeare’s plays, questions remain concerning the extent of William Shakespeare’s knowledge of Muslim culture and his use of that knowledge in writing Othello. I suggest that the playwright had access to numerous sources that informed his depiction of Othello as a man divided between Christian faith and Islamic duty, a division which resulted in the Moor’s destruction. Sharia, a code of moral and legal conduct for Muslims based on the Qur’an’s teachings, appears to be a guiding force in Othello’s ultimate quest for honor. The advance of the Ottoman Empire into Europe with the threat of conquest and forced conversion to Islam was a source of fascination and fear to Elizabethan audiences. Yet, as knowledge increased, so did tolerance to a certain degree. But the defining line between Christian and Muslim remained a firm one that could not be breached without risking the loss of personal identity and spiritual sanctity. Denizens of the Middle East and followers of the Islamic faith, as well as travel encounters between eastern and western cultures, influenced Shakespeare’s treatment of this theme. His play Othello is possibly the only drama of this time period to feature a Moor protagonist who wavers between Christian and Muslim beliefs. To better understand the impetus for Othello’s murder of his wife, the influence of Islamic culture is considered, and in particular, the system of Sharia that governs social, political, and religious conventions of Muslim life, as well as Othello’s conflicting loyalties between Islam as the religion of his youth, and Christianity, the faith to which he had been converted. From Act I celebrating his marriage through Act V recording his death, Othello is overshadowed by fears of who he really is—uncertainty bred of his conversion to Christian faith and his potential to revert to Islamic duty. Without indicating Sharia directly, Shakespeare hints at its subtle influence as Othello struggles between two faiths and two theologies. In killing Desdemona and orchestrating Michael Cassio’s death in response to their alleged adultery, Othello obeys the Old Testament injunction for personal sanctification. But in reverting to Muslim beliefs, he attempts to follow potential Sharia influence to reclaim personal and societal honor.
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Costa, Daniela Viegas da, and Armindo dos Santos de Sousa Teodósio. "Desenvolvimento sustentável, consumo e cidadania: um estudo sobre a (des)articulação da comunicação de organizações da sociedade civil, do estado e das empresas." RAM. Revista de Administração Mackenzie 12, no. 3 (June 2011): 114–45. http://dx.doi.org/10.1590/s1678-69712011000300006.
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O consumo, na contemporaneidade, cumpre diferentes funções e implica múltiplas referências como construção social, porém, nos padrões atuais, é insustentável, tanto na perspectiva ambiental quanto da construção de direitos e da cidadania. Para compreender os desafios da construção de ações e políticas capazes de renovar as práticas de consumo, problematizam-se neste artigo as respostas aos dilemas do consumo construídas por atores da sociedade civil, do Estado e do mercado. O consumo sustentável se configuraria como uma das possibilidades de tratamento dos impactos do consumismo, pois envolve mudanças de atitude aliadas à necessidade de transformação do sistema das atitudes e dos valores dos cidadãos. Apesar de ainda não se observar a predominância de um novo modelo civilizatório capaz de superar os dilemas da sociedade do consumo, existem alternativas para promover a sustentabilidade. Esse esforço sugeriria a construção de articulações entre diferentes grupos, quer seja do governo, quer da sociedade civil, quer do mercado, para atender às demandas da população e adotar boas práticas de produção e consumo sustentáveis, por meio da ação política e do exercício da cidadania. Na pesquisa empírica, de abordagem qualitativa, com entrevistas em profundidade e análise descritiva, percebeu-se que a comunicação para a construção de discursos e práticas politicamente corretos para o consumo, por parte dos atores pesquisados, para torná-lo sustentável, nem sempre abarca a complexa relação que envolve o meio ambiente nas esferas pública e organizacional. Muito presente nos textos de relatórios empresariais, o desenvolvimento sustentável não é percebido na prática organizacional cotidiana. Nesse contexto, descortinam-se diferentes dramas e tramas da cidadania socioambiental que podem dar novo sentido às lutas ambientais no campo do consumo, bem como encobrir as armadilhas de um discurso ambientalmente correto, mas politicamente frágil.
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Palermo, Vicente. "Algumas hipóteses comparativas entre Brasil e Argentina no século XX." Revista de Sociologia e Política 17, no. 33 (June 2009): 123–30. http://dx.doi.org/10.1590/s0104-44782009000200009.
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Comparar trajetórias políticas ao longo de um século supõe um esforço muito maior de esquecimento do que de memória. Tentarei aqui converter uma grande quantidade de matérias analíticas muito heterogêneas em algumas conjeturas "popperianas". Elas podem provir de qualquer parte e podem ser submetidas à corroboração ou à refutação. Ou seja, trata-se de um processo inverso à tarefa estritamente acadêmica. Em certamedida, estou recomeçando "desde o zero" o meu trabalho. É verdade que a história democrática argentina, no século XX, é mais longa do que a brasileira. Todavia, essa diferença não invalida a comparação. Minha hipótese concisa é a seguinte: na política democrática brasileira, a dimensão institucional é dominante - as instituições, de fato, representam o lugar em que se dão as interações e em que os atores coletivos configuram-se. Em compensação, nessas instituições, a inclusão tanto social como política tem sido fraca. No entanto, no caso argentino, a dimensão inclusiva tem sido dominante, com o prejuízo indubitável da dimensão institucional. Na política democrática argentina, participaram "todos". Na política democrática brasileira até 1964, a estabilidade baseou-se na exclusão - por exemplo, das massas rurais. Estas hipóteses podem estar corretas ou erradas, mas, em qualquer caso, importa dizer que não as estabeleci ex nihilo, como vindas do nada, nem diacrônica, nem sincronicamente. Diacronicamente, porque a história do século XX sustenta-se, é obvio, na do XIX; sincronicamente, porque com certeza cada uma das hipóteses ou conjeturas que discuti aqui pode imbricar-se com os processos do próprio século XX, com os dramas, as lutas, as lideranças, os conflitos, as controvérsias, as gestões de governo, os períodos de depressão e de prosperidade e as esperanças, tudo, enfim, o que constitui a história desse século.
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Žaja Vrbica, Sanja. "Putopis Lacroma krunske princeze udove Stephanie i dvorskog marinista Antona Perka." Ars Adriatica, no. 6 (January 1, 2016): 219. http://dx.doi.org/10.15291/ars.187.
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Among the numerous travelogues describing southern Dalmatia, Dubrovnik, and its surroundings, the booklet called Lacroma merits special attention. Its author was the widowed Crown Princess Stephanie (1864-1945) and the illustrations were provided by Anton Perko, seascape painter at the court and the former governor of Lokrum. The first edition was published in 1892 in German, followed by an Italian one five years later. This article focuses on the first, German edition. Painter Anton Perko (1833-1905) stayed on the island of Lokrum from January 1879 until the beginning of 1881, with minor absences. The following year, he spent the entire winter on the island, and when the princely couple moved to Vienna, he also moved there in 1883. After the Mayerling drama, when Rudolf and his young mistress Marie Vetsera were found dead under mysterious circumstances, Perko’s life changed as well, yet he remained in the service of the widowed princess until 1896, when he retired. Anton Perko did not write an autobiography, but his important position in the royal household is evident from the fact that Stephanie and her daughter took care of his widow after his death in 1905. In 1892, a volume on Dalmatia was published as part of the complex work Die österreichisch-ungarische Monarchie in Wort und Bild, initiated by Prince Rudolf and continued by his widow Stephanie, which must have also inspired her to write a separate book on Lokrum with its rich historical, cultural, and natural heritage. Her description of Lokrum is intended for future tourists, potential visitors from the north, and introduces the reader to this insular Arcadia with descriptions of its position in southern Dalmatia and Dubrovnik, after which she turns to the history of Lokrum and its monuments, with reference to two written sources: the Apendius chronicle and the Memorie storiche sull’isola Lacroma, published in Vienna in 1861. Illustrations by Anton Perko are completely subjected to the text, eternalizing scenes described by Princess Stephanie and faithfully presenting the details that intrigued the author. The German version of Lacroma was published shortly before the end of Perko’s active life, spent largely next to the Crown Prince and his wife. It may thus be understood as a sort of sublimation for his work as the court secretary and painter. Sketches for the nineteen illustrations in the Lokrum booklet were probably made in the previous decades, while Perko was still the governor of the island. Among his works donated to the libraries of Dubrovnik, there are three drawing folders of small dimensions titled Lacroma and dated to 1879 and 1880 respectively, as well as a number of drawings and watercolours showing Lokrum’s landscapes. As a passionate sketcher, Perko must have made a far larger number of drawings on the island, but they must have been acquired by Stephanie after his death, which is why the Dubrovnik collection possesses only a small segment of his oeuvre. With its historical overview, descriptions of architecture and vegetation, and especially the contemporary details, this travelogue offers a precious insight into the appearance and life of the island in the 19th century. Especially valuable details include those referring to the interior of the summerhouse, inscriptions on the walls of the monastery, and Maximilian’s poetry, which Stephanie recorded preserving it from oblivion and making it available for a wider audience. Perko’s illustrations carefully follow the text, completely subjecting themselves to the author’s tone and introducing us to the solitude of island vistas and their hidden beauty in the conservative artistic tradition of the late 19th century. The painter has drawn with utter precision the architecture and the vistas of the island, the imperial residence, and the coastline, including the rare inhabitants in the serene solitude of their isolation, in the spirit of AustroHungarian Orientalism that he adhered to, yet he also gave us an image of the island that is nowadays almost unrecognizable owing to the rich vegetation. This paper analysis the textual and visual segments of the travelogue and their contribution to our knowledge of the island’s recent history, including the imperial residence and the natural resources.
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Holmes, Brooke. "Antigone at Colonus and the End(s) of Tragedy." Ramus 42, no. 1-2 (2013): 23–43. http://dx.doi.org/10.1017/s0048671x00000059.
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Sophocles' Oedipus at Colonus, it would seem, is an exercise in closure. In the opening scene, Oedipus, worn down by years of wandering blind and hungry, arrives at the borders of Athens. Here is where his legendary sufferings—his murder of his father, his incestuous marriage to his mother, his betrayal by his sons, his exile from Thebes—are fated to end. Following his miraculous death, his body will become a sacred gift to the city that receives him, protecting it against future attack. In the closing moments of the play, everything unfolds according to plan. Oedipus disappears offstage and mysteriously descends into the earth. The king of Athens, Theseus, alone marks the spot of his disappearance, knowledge he will pass down to his sons as part of his responsibility to the city. By the end of the tragedy, then, Oedipus has made his way home to the gods in a land capable of honouring his awesome, singular fate.The concept of ‘coming home’ is integral, as this précis suggests, to the play's logic of closure. Yet, crucially, it governs only one of the two planes on which the drama unfolds, that of the gods. Oedipus' life has been in the hands of the gods since before he was born. That they reclaim him at the end of his life gives his exit the feel of a return. By contrast, the path to Athens, for all its meandering, is not circular but linear. Athens is definitively not Thebes, as the tragedy demonstrates over and over (nor is it Corinth, Oedipus' other point of origin). Thebes is, rather, the home that Oedipus rejects, most spectacularly through his resistance to Creon's demand that he return to the city of his birth. What is more, he repudiates any relationship to the Theban throne. When Polyneices arrives to ask his father to support his bid to reclaim the kingship from his brother Eteocles, Oedipus does not simply refuse to intervene but drives his son away with curses. His refusal is a refusal not just of Thebes but of the Labdacid line altogether (he goes so far as to call Polyneices ἀπάτωϱ, ‘fatherless’, 1383; see also 1369: ὑμεῖς δ' ἀπ' ἄλλον ϰοὐϰ ἐμοῦ πεϕύϰατον, ‘you are from another and not born from me’); his pact with Theseus creates an alternate genealogy of fathers and sons. Seen in this light, Oedipus' arrival at Colonus and, ultimately, his dramatic exit become the final stages of a process not of coming home but of leaving Thebes behind and with it ‘the radical tragic terrain where there can be no escape from the tragic in the resolution of conflict or in the institutional provision of a civic future beyond the world of the play’.