Academic literature on the topic 'Historical drama'

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Journal articles on the topic "Historical drama"

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Jinyi Zhao and Lim Chsing Chsing. "Heroism in Historical Drama: Examine How Historical Drama Portrays Heroism Through Real-Life Historical Characters and Events." Journal of Advanced Zoology 44, S-5 (November 15, 2023): 2333–46. http://dx.doi.org/10.17762/jaz.v44is-5.1846.

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Historical dramas have long served as a vital medium to convey stories of heroism, often bringing to life the valor and virtues of historical figures and events. This study delves into the multifaceted portrayals of heroism within the realm of historical drama. By critically analyzing various dramas, the research sheds light on how these works both mirror societal perceptions of heroism and mold them. The nuanced interplay between dramatic representation and historical fidelity is explored, revealing the balance creators strike between artistic interpretation and factual authenticity. The paper underscores the influence such portrayals have on audience perceptions, cultural values, and societal norms, emphasizing the enduring impact of historical drama on collective memory and identity.
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Hornby, Richard. "Historical Drama." Hudson Review 45, no. 2 (1992): 293. http://dx.doi.org/10.2307/3852255.

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y, Hou Jue, and Jeongmin Ko. "A Study on the Q Methodology on the Factors of Korean Viewers’ Preference for Watching Chinese Drama: Focusing on Costume Drama." Academic Association of Global Cultural Contents 57 (November 30, 2023): 267–90. http://dx.doi.org/10.32611/jgcc.2023.11.57.267.

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With the continued development of the media, the spread of multicultural dramas has become a common concern of the drama industry, and the export of dramas has become an important way to improve the culture of countries around the world. Currently, Chinese costume drama is actively consumed through OTT platforms, such as remakes in Korea. In order to maintain this desire of Korean viewers, the subjective viewing preference factors of Korean viewers were analyzed using the Q methodology and based on this, implications for the entry of Chinese costume drama into Korea were presented. As a result of the study, it was confirmed that the factors that Korean viewers prefer to watch Chinese costume dramas were divided into types that prefer traditional historical dramas and types that prefer fusion historical dramas. Cultural curiosity is the preferred factor in the pursuit of traditional culture that likes traditional historical dramas based on cultural similarities. Based on cultural similarities, fusion historical dramas can be divided into visual effect-seeking types that prefer colorful production environments and fandom-seeking types that prefer to like actors, and content excellence is the preferred factor. It can be seen that this is an individual's subjective taste in which various factors of preference for Chinese costume drama appear depending on the viewing tendency. This study is meaningful in presenting the factors of Korean viewers' preference for viewing differently depending on the preference for viewing traditional historical dramas and fusion historical dramas in the production environment of Chinese costume drama.
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Simó, Joan Oleza. "Variations of «Drama Historial» (Historical Drama) in Lope de Vega." Anuario Lope de Vega Texto literatura cultura 19 (October 31, 2013): 150. http://dx.doi.org/10.5565/rev/anuariolopedevega.71.

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Cassler, Robert. "Creating Historical Drama." History Teacher 23, no. 3 (May 1990): 255. http://dx.doi.org/10.2307/494859.

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Slipushko, O. M., and A. O. Katyuzhynska. "THE INTEGRATION OF PANEUROPEAN THEATRIC TRADITIONS OF THE BAROQUE EPOCH INTO THE HISTORICAL DRAMA OF THE LUMINARIES." Literary Studies, no. 60 (2021): 199–210. http://dx.doi.org/10.17721/2520-6346.60.199-210.

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The article represents the study of the peculiarities of the integration of PanEuropean theatrical traditions of the Baroque epoch into the historical drama by Ukrainian coryphees. Particular attention is paid to the study of the specifics of the creation of baroque drama of the XVIII century and its influence on the formation of the dramatic tradition of the Coryphées. The main European tendencies represented in historical baroque dramas are singled out. It is proved, that succession is manifested primarily at the level of national identity. The historical dramas of F. Prokopovych “Volodymyr”, the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky”, I. Karpenko-Kary “Sava Chaly” in the comparative aspect are analyzed. Common and different features in the interpretive models of the central images of statesmen are clarified. Actually, F. Prokopovich has developed his own theory of drama with a division into five acts. It was found out, that such a structure is also characteristic of the works of I. Karpenko-Kary “Sava Chaly” and M. Starytsky “Bogdan Khmelnytsky”, which testifies to the preservation of the baroque dramatic tradition. At the same time, the Coryphées have significantly deepened the compositional structure of the drama, adding new elements. The works of the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky” have the genre of historical drama, the central image of hetman B. Khmelnytsky. However, in the historical drama of M. Starytsky “Bohdan Khmelnytsky” the interpretative model of the image of the statesman is significantly expanded, in particular, the psychological aspect of the figure of the hetman is deepened. At the same time, the idea of messianism, especially the interpretation of the National Liberation War as the highest level of self-sacrifice, is common in the interpretation of the image of B. Khmelnytsky by the anonymous author and M. Starytsky. Pan-European traditions of Ukrainian baroque drama of the XVIII century has become one of the sources for the formation of the original professional Theater of luminaries, in particular historical dramas.
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Dalton, Racquel Fred. "Highlighting the Female Perspective in British Historical Drama: An Analysis of the Portrayal of Women Characters, Specifically Guinevere and Morgan Le Fay, in the Arthurian Legend." Studies in Social Science & Humanities 2, no. 12 (December 2023): 38–46. http://dx.doi.org/10.56397/sssh.2023.12.06.

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This comprehensive analysis thoroughly explores the nuanced portrayal of female characters in British historical drama, focusing on the iconic figures of Guinevere and Morgan Le Fay within the Arthurian Legend. Tracing the evolution of these characters across medieval literature and contemporary historical dramas, the study examines the historical context, thematic intricacies, and reception dynamics that have shaped and reshaped their roles. Through a comparative lens, the paper contrasts the portrayals of Guinevere and Morgan Le Fay, unraveling shared commonalities, divergent paths, and their contributions to the narrative richness of Arthurian historical dramas. The exploration navigates the socio-cultural transformations reflected in these portrayals, emphasizing the significance of highlighting the female perspective in the enduring tapestry of British historical drama.
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김지영 and 서보민. "Historical Drama 'Hwajeong' and Historical Imagination." Women and History ll, no. 29 (December 2018): 91–130. http://dx.doi.org/10.22511/women..29.201812.91.

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Liu, Yijun. "Spread Of Artistic Spirit Of Chinese Historical Drama Songs." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 3652–63. http://dx.doi.org/10.18001/trs.7.5.1.142.

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As an important symbol of an excellent TV series, Chinese historical dramas’ songs have become the spiritual symbols left to the broad audience. They have the theme and spiritual value of spreading the story, connecting the link between the past and the following, showing the infinite empathy and yearning of women, symbolizing the identity and symbolic the identity and symbolic meaning of the characters, borrowing historical allusions and drama adaptation, preserving the artistic spirit of and beautiful style. These songs play an essential role in spreading the story plot, characters, cultural connotation, and regional customs of the historical drama and play a critical value-added role in enhancing the historical drama’s artistic charm and spiritual value. This is also the music aesthetics that presents the blending of form and spirit and the sublimation of artistic conception in historical dramas’ songs.
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B, Vijayakumar. "A Comparative Analysis of Tamil and Assamese Dramatic Tradition." International Research Journal of Tamil 4, no. 2 (February 1, 2022): 1–8. http://dx.doi.org/10.34256/irjt2221.

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The article is to trace the heritage of Tamil and Assamese drama earliest times to present. The sub-genre of different periods is also discussed herewith. Earliest record of Tamil drama is available during Sangam period. In Assamese it is mentioned in the Sankaradev period. Sankardeva the father of Assamese literature and society maker had a great contribution to Assamese drama. ‘Chihno Jatra’ was the first drama of Assamese literature. To speed up his ‘Ek Saran’ religion he wrote many dramas as an instrument of it and his followers also followed him. In the end of the nineteenth century Tamil and Assamese drama underwent a change after its contact with western literature. Hence the Tamil drama can be divided into four periods. (1) Tolkappiyam to 16th century, (2) drama in the 17th,18th century, (3) 19th century, and (4) 20th century. Assamese drama can be classified as (1) Vaisavate period, (2) Ahom period, (3) modern period. Many authors wrote ancient, historical and modern dramas in both languages. All those dramas are taken as the very great wealth of Tamil and Assamese literature.
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Dissertations / Theses on the topic "Historical drama"

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Warner, Kathleen Marie. "Historical theory, popular culture and television drama /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19144.pdf.

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Wilfong-Pritchard, Geoffrey. "Cloven hoof, historical drama and the construction of narrative theology." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0028/NQ48821.pdf.

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Hwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.

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From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.
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Taylor, Miles Edward. "Nation, history, and theater : representing the English past on the Tudor and Stuart stage /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9986765.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 255-265). Also available for download via the World Wide Web; free to University of Oregon users.
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Mateer, Megan. "Living history as performance an analysis of the manner in which historical narrative is developed through performance /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1136660752.

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LaPlant, Donald David. "Metahistorical theater : recent American approaches to the dramatic presentation of historical material /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018378.

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Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 243-250). Also available for download via the World Wide Web; free to University of Oregon users.
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Nees, Heidi L. ""Indian" Summers: Querying Representations of Native American Cultures in Outdoor Historical Drama." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1352840321.

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Lei, Daphne Pi-Wei. "Performing the borders : gender and intercultural conflicts in premodern Chinese drama /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1999.

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Thesis (Ph.D.)--Tufts University, 1999.
Adviser: William Sun. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 264-283). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Habegger, Kimberly Anne. "The historical drama in Spain during the postwar and the transition to democracy /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu148767164005605.

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Faasen, Cornelia. "Theatre as alternative historical narrative : a study of three plays : "Ubu and the Truth Commission", "Copenhagen" and "Ghetto"." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/3006.

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Thesis (MDram (Drama))--University of Stellenbosch, 2009.
In this thesis I examine the way in which fictionalised and dramatised narratives in theatre have the potential to create significant alternative narratives that can potentially be regarded as a crucial part of history writing. This is done through a critical analysis of three historically orientated dramatic texts, Ubu and the Truth Commission by Jane Taylor (1998), Copenhagen by Michael Frayn (1998) and Ghetto by Joshua Sobol (1984). I investigate how these playwrights narrativised history by fictionalising and dramatising events and people of historical importance, and how each of these plays individually contributes to the debate on narrative in historiographical discourse. Drawing on Hayden White’s theory on the poetic and narrative nature of history writing, as represented by his definitive work, Metahistory, I explore different theories and works on the philosophy of history to determine the precise nature of narrative itself as well as the historical work. Chapter Two is therefore an exploration of White’s philosophy on the ‘historical imagination’ as he describes his theory on the narrative and poetic nature of the historical document. In addition, this chapter provides an introduction to narrative in a theatrical text. This is done in order to examine how we can apply White’s theory to investigate narrative in theatre that focuses on historical events for the purpose of possibly including the dramatic narrative in the broader discourse on narrative in history writing. In this I highlight the theatrical narrative as a specific practice of language beginning with an interlude on representation in theatre. This is applied as the basis for examining the three texts in subsequent chapters. There are both general and more specific advantages in pursuing these arguments. Firstly, it may generate an understanding of some of the broad claims and problems bearing on the impact that literary theory is said to have on a subject which is not normally considered to fall within its domain, namely history writing. The work of Hayden White has been singled out to represent these claims, as he challenges the traditional distinction between history and literature. As a result, we are made aware of those arguments which set out to show that there are aspects of historical writing which are often ignored or which we generally overlook. An example of such an aspect that serve as the focus of this study is the narrative in historical explanation, representing the “ineluctably poetic nature of the historical work” (White 1983:xi). As such theatre can be an important tool in the process of constructing memory and alternative narratives, arguing that these narrativised histories could provide a “countermemory to the dominant narrative of the official histories” (Hutchison 1999:3). The theatrical texts singled out demonstrate that these alternative narratives in the theatrical texts function as a discourse of multi-levelled stories that engage with the complexities of the society and the complexities present in the context of the plays, making a contribution to the practice of historiography itself.
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Books on the topic "Historical drama"

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1937-, Redmond James, ed. Historical drama. Cambridge: Cambridge University Press, 1986.

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Grant, Teresa, and Barbara Ravelhofer, eds. English Historical Drama, 1500–1660. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268.

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Besong, Bate. The banquet: A historical drama. Makurda, Nigeria: Editions Ehi, 1994.

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Caturbhuja. The great historical dramas. Delhi, India: Mittal Publications, 1987.

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Rotimi, Ola. Akassa you mi: An historical drama. Port Harcourt, Nigeria: University of Port Harcourt, 2001.

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Rotimi, Ola. Kurunmi: An historical tragedy. Nigeria: Oxford University Press, 1985.

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Lansdown, Richard. Byron's historical dramas. Oxford: Clarendon Press, 1992.

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Musæus-Higgins, Marie. Ceyl on historical plays. New Delhi: Asian Educational Services, 2000.

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Jordan, Mark Sebastian. Phoebe: A historical drama in two acts. Mansfield, Ohio: Sinister Hand Media, 2006.

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1952-, Hoagwood Terence Allan, and Watkins Daniel P. 1952-, eds. British romantic drama: Historical and critical essays. Madison, [N.J.]: Fairleigh Dickinson University Press, 1998.

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Book chapters on the topic "Historical drama"

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Kluge, Sofie. "Historical Drama." In Literature and Historiography in the Spanish Golden Age, 157–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003203575-9.

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Aebischer, Pascale, and Nicolas Tredell. "Historical Contexts." In Jacobean Drama, 53–72. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-06669-5_5.

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Krämer, Peter. "The Appeal of Historical Drama." In The General, 35–43. London: British Film Institute, 2016. http://dx.doi.org/10.1007/978-1-84457-917-4_4.

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JR., John Yurkschatt. "Stepping into Historical Perspectives." In Teaching Drama in the Classroom, 157–59. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-537-6_33.

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Bondebjerg, Ib, Eva Novrup Redvall, Rasmus Helles, Signe Sophus Lai, Henrik Søndergaard, and Cecilie Astrupgaard. "History, Heritage and Memory: Historical Drama." In Transnational European Television Drama, 257–95. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62806-6_10.

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Grant, Teresa, and Barbara Ravelhofer. "Introduction." In English Historical Drama, 1500–1660, 1–31. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268_1.

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Dillon, Janette. "The Early Tudor History Play." In English Historical Drama, 1500–1660, 32–57. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268_2.

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Taylor, Andrew W. "The Reformation of History in John Bale’s Biblical Dramas." In English Historical Drama, 1500–1660, 58–97. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268_3.

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Ullyot, Michael. "Seneca and the Early Elizabethan History Play." In English Historical Drama, 1500–1660, 98–124. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268_4.

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Grant, Teresa. "History in the Making: the Case of Samuel Rowley’s When You See Me You Know Me (1604/5)." In English Historical Drama, 1500–1660, 125–57. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268_5.

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Conference papers on the topic "Historical drama"

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Davies, Rosamund, Paul Rissen, and Michael O. Jewell. "Adapting historical drama for the web." In the 3rd Narrative and Hypertext Workshop. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2462216.2462222.

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Bakhtikireeva, Uldanai. "THE NATIONAL IDEA THROUGH THE PRISM OF HISTORICAL DRAMA." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s26.034.

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Zhang, Yue, and Yujuan Feng. "A Study of the Historical Period Drama lDownton Abbeyr from the Perspective of Face Theory." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.79.

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URSACHI, Rodica. "Art as an end and means of education." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p172-177.

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One of contemporary society’s acute problem is moral state of its members, which needs a perfecting through permanent education of ethic standards. Art, as other domain, tackles this problem, but from its own view point. It reflects different moral ethic ideals during its development stages, which influence conscience of respective epoch people. In this way, art presents it self in double hypostasis – to reproduce the moral state of human society in a certain historical moment, and to help the speading of ethic ideas that will contribute to its spiritual education and development. The work of art becomes an object of study for the general viewer and requires him to mobilize his intellectual faculty to understand the proposed „message”. Art is the privileged way to remove man from the conflict zone of life, caused by various historical and social factors. Existential drama, expressed through moral suffering, is present in various genres of art with an emphasis on historical, religious composition, etc., but it is also avoided by artists who paint static natures, landscapes, nudes. Artists of the contemporary period, captivated by plastic and non-figurative technological effects, avoid analyzing the current social impact, rediscovering moral and ethical values and reflecting them in his work.
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TABURCEANU, Polina. "Methodical aspects and the educational process of the short story Children in the shachles of Siberia by Spiridon Vangheli." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p65-70.

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This article includes the analysis of the short story Children in the shackles of Siberia by Spiridon Vangheli. The work presents the image of a life in which the worlds of the adult and the child merge prismically, being interesting for the adult and the child: „It is a book in which the author expresses his boundless pain towards people, who, despite the hard times, chose to remain human „. The writer remains faithful to the psychological truth, depicting the child’s soul not as an idyllic verse, but as a complex one, dominated by lights and shadows, luminous and demonic forces. The short story "Children in the Chains of Siberia" is current due to the issues addressed, the young generations must know the historical past, the truth about the victims of the Stalinist regime, tragic destinies and the drama of the whole of Bessarabia.
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Telford, Elsie, Akari Nakai Kidd, and Ursula de Jong. "Beyond the 1968 Battle between Housing Commission, Victoria, and the Residential Associations: Uncovering the Ultra Positions of Melbourne Social Housing." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4022pplql.

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In 1968, the Housing Commission, Victoria, built a series of high-rise towers in response to an identified metropolitan planning issue: urban sprawl and the outward growth of metropolitan Melbourne. This “solution” precipitated a crisis in urban identity. The construction of the first of a series of these modern high-rise towers at Debney Park Estate, Carlton and Park Towers, South Melbourne displaced significant immigrant communities. This became the impetus for the formation of Residential Associations who perceived this project a major threat to existing cultural values pertaining to social and built heritage. This paper examines the extremely polarising events and the positions of both the Housing Commission and the Residential Associations over the course of fifteen years from 1968. The research is grounded in an historical review of government papers and statements surrounding the social housing towers, as well as scholarly articles, including information gathered by Renate Howe and the Urban Activists Project (UAP, 2003-2004). The historical review contextualises the dramatically vocal and well-publicised positions of the Residential Associations and the Housing Commission by reference to the wider social circumstances and the views of displaced community groups. Looking beyond the drama of the heated debate sparked by this crisis, the paper exposes nuances within the positions, investigates the specifics of the lesser known opinions of displaced residents and seeks to re-evaluate the influence of the towers on the establishment of an inner urban community identity.
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Tipa, Violeta. "Identity visions in the creation of the filmmaker Constantin Balan." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.18.

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One of the filmmakers from the studio „Moldova-Film”, who supported and promoted our national values was Constantin Balan. Following the activity path of the artist from his coming to the studio „Moldova-Film” as a painter-scenographer until his dissolution, we detect the value conceptions, to which he remains faithful throughout creation. He made his debut as a painter-scenographer for the film „Alone in the Face of Love” (1969), directed by Gheorghe Voda, and later he will be requested by Director Vlad Iovita for the film-story „Prince Charming” (1977) and the historical drama „At the gates of Satan” (1980), for which he anchors in our national mythofolchloric relating it to the history of the people. In 1970 his dream during his studies at VGIK (1964—1969) is fulfilled — to create animated films. In this context, especially significant becomes his first film „Guguta” (made with the support and competition of Estonian director Elbert Tuganov), which will be auspicious and will be the head of a whole series of films with the character of writer Spiridon Vangheli.
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Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva, and Nazerke Kairbekkyzy. "Innovative Trends in Ethno-Costumology in the Modern Theater Process." In 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.

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This article examines the topicality of ethno-costumes in the context of the modern theatrical process. The aim of the study is to conduct a theoretical and methodological study of the problems of ethno-costumeology in the context of the modern theatrical process. The scientific and theoretical methodology of the research include the theoretical foundations of ethno-costumes, concepts of the modern theatrical process, methodological aspects of ethno-costumes, innovative directions of ethno-costumes, artistic principles of creating an ethnocostume. Scientific and theoretical methods were used: socio-cultural, historical, semiotic, ethnographic, formal-stylistic analysis, ekphrasis, attribution of an ethnic costume, observation, interpretation of an ethnic costume in the theatrical process. The practical methods: research of innovative technologies in the design of ethnic costume in the context of the modern theatrical process, which make up various types of 3D modelling and visualization. The result of the study is: the application of the obtained scientifically grounded methodological foundations in the method of designing an ethnic costume in the production process of the Kazakh Drama Theater named after S. Seifullin in the city of Karaganda. The significance of the results is in the study and identification of methodological aspects in innovative areas of ethno-costumology within the framework of the modern theatrical process.
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9

Vidulin, Sabina. "MUSIC TEACHING AND LISTENING TO ART MUSIC IN THE FUNCTION OF STUDENTS’ HOLISTIC DEVELOPMENT." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.391v.

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Music is a part of a child’s everyday life. In family and in preschool institutions, its function is different from the one in school. Music teaching influences the overall students’ development, which can be seen from a pedagogical and artistic perspective. It is aimed at acquiring knowledge and developing students’ skills in the field of art; it encourages aesthetic education, but also the preservation of historical and cultural heritage. The domain in which this is mostly realized is listening to music and music understanding. With the intention of bringing art music closer to children and young people, its more intense experiencing and understanding, the paper points to the necessity for an interdisciplinary and correlative relationship of music with other subjects, but also musical activities with each other. Since the author intends to indicate the importance of creating new didactical strategies for music teaching lessons, the Stage-English-Music concepts, the Listening to Music-Music Making model and the Cognitive-emotional approach to listening to music are briefly described. These strategies for the improvement of music listening are based on an interdisciplinary and intradisciplinary approach, depending on whether they include extracurricular activities in the work (e.g. English and drama education), or the work is carried out within musical activities such as singing, playing, or dancing with musicologically, but also humanistically oriented outcomes. Practice and research indicate that in addition to acquiring musical knowledge and developing musical skills, multimodal approaches affect students’ holistic development.
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10

Radzobe, Zane. "‘Alternative Knowledge’ in Latvian Culture: Roots and Contexts." In International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.12.

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The aim of the current research is to establish how alternative knowledge is represented in the latest Latvian cultural texts, how this representation compares with the texts written in previous cultural eras, and what structure of reality is characteristic of the texts. The research explores popular cultural texts in which distributors of ‘alternative knowledge’ operate (wizards, witches, servants of the devil, etc.), and the historical texts are compared with the latest yield of Latvian culture – director Uģis Olte’s film “Upurga” (2021) and Linda Nemiera’s novel “Rīgas Raganas” (2021). The research methodology is based on Richard Schechner’s understanding of social and aesthetic drama, as well as post-structural text analysis, analysing texts according to pairs of dichotomies. The research found that in the oldest texts, the alternative reality is not considered real, but represented metaphorically. The individual who is given the imagined supernatural status aspires to fit into the group. The ‘supernatural’ is most frequently associated with knowledge that an individual gradually imparts to a group. Recent texts affirm the belief in parallel realities as real, physically existing. Criticism of contemporary culture (‘reality’) is pronounced, the alternative reality gives it what it lacks (the opposition of nature vs civilization, the basis for social processes in the real world, etc.). The contrast between the individual and the group can be clearly observed, besides, the individual does not fit into the group after all, remaining isolated.
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