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Relevant bibliographies by topics / Mothers and sons – Drama

Academic literature on the topic 'Mothers and sons – Drama'

Author: Grafiati

Published: 25 July 2024

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Journal articles on the topic "Mothers and sons – Drama"

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I. Devakirubai, Dr. A. Theeba. "Formation Of M.G.R First Administration." Tuijin Jishu/Journal of Propulsion Technology 44, no. 4 (October 17, 2023): 413–15. http://dx.doi.org/10.52783/tjjpt.v44.i4.854.

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The aim of this article is to highlight the formation of M.G.R first administration in Tamil Nadu. M. G. Ramachandran alias M.G.R. the Founder of All India Anna Dravida Munetra Kalagam in Tamil Nadu Politics was born on January, 17, 1917 at Kandi with Malayalee Parents. Maruthur Gopala Menan and Sathya Bama1, M.G.R. had to endure hunger poverty and squalor in his boy hood days. His mother Satyapama with her two sons Chakrapani and Ramachandran moved to Kumbakonam in Tamil Nadu in 1919, but could not find living. The boys could not go to school and Satyabama admitted them to Madurai original Boys Drama Company to be trained as stage artists for a Salary of five rupees per month. Both the brothers were food up with the tight work in the drama company and seeking chance to act in Cinema in Madras.

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KIM, Mansu. "‘THE RULE OF THREE’ IN THE GROWTH STORIES – GANGBAIK LEE’S DRAMA “LIKE LOOKING AT THE FLOWER IN THE MIDWINTER”." International Journal of Korean Humanities and Social Sciences 1 (November 4, 2016): 11–22. http://dx.doi.org/10.14746/kr.2015.01.01.

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This paper focused on the structure of the growth stories, especially in surveying Gangbaek Lee’s (이강백) drama “Like Looking at the Flower in the Mid-winter (동지섣달 꽃 본 듯이)”. It is structured by ‘rule of the three’. In this text, three sons go to seek their mother, they experience the tests three times. Third son wins the game because he succeeds to find his true and alternative mother. It is similar to the story of English fairy tale “Three Little Pigs”. In Freudian terms, the characters of the both texts are superego, ego and id. The core of the growth story is that third son (id) wins the first son (superego) and the second son (ego) by using his own energy (meaningful labor). In Levi Strauss’ terms, the contrast between the third and the others can be schemed the contrast between culture and nature. Lee’s drama presents the third son as the real hero who overcomes two elder brothers. The first is so conservative (oversleep), the second is so selfish (overeat). Two brothers were too political or too ideal to become a true, humanistic and warm-minded adult. In his view, ‘drama’ related to the third son is the most humanistic and warm-minded action in the world. These both stories are based on the plot ‘rags to riches’ which contains the success of the poor and powerless. In other words, the poor and weak child can grow to the true hero, and reach the final destination, according to the Gustav Jung’s expression, ‘the Self as a Whole’.

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Mosusova, Nadezda. "The wedding and death of Milos Obilic: From The Fairy’s veil to The Fatherland." Muzikologija, no. 25 (2018): 119–31. http://dx.doi.org/10.2298/muz1825119m.

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The prominent Serbian and Yugoslav composer Petar Konjovic (1883-1970) wrote five operas between 1900 and 1960. Konjovic?s operatic opus represents his homeland and his spiritual spectrum: in the first place, indelible memories of his childhood and youth focused on the Serbian National Theatre in Novi Sad, in particular its heroic repertoire of Serbian literature. Consequently, three out of five of Konjovic?s music dramas are derived from Serbian epic and theatre plays. In addition to Ivo Vojnovic?s Death of the Jugovic Mother, these are Dragutin Ilic?s Wedding ofMilos Obilic and Laza Kostic?s Maksim Crnojevic. Therefore three of Konjovic?s operas can be conditionally brought together as being in many ways related, not only by their content but also by music and the scope of time they were created: The Fairy?s Veil (based on Wedding of Milos Obilic)during World War I, The Fatherland (based on Death of the Jugovic Mother)during World War II, and between them The Prince of Zeta (based on Maksim Crnojevic). The last of them, subtitled ?A sacred festival drama? (following with its subtitle the idea of Wagner?s Parsifal) had its gala performance in Belgrade National Theatre on 19 October 1983. The structure of the musical composition was inspired by the ?Kosovo mystery play? by Vojnovic (1857-1929), an outstanding dramatist from Dubrovnik. In this case, the playwright was a narrator of the historical-legendary past of the Serbs. Drawing on Serbian national epic poetry which deals with the downfall of the Serbian medieval empire caused by the Turkish invasion, Vojnovic constructed his play on the basis of the central poem of the epic cycle about Kosovo, The Death of the Jugovic Mother. Both the epic and Vojnovic?s play present the tragedy of Serbian people in the figure of the Mother. She dies with a broken heart after the loss of her heroic husband, Jug-Bogdan, and her nine sons, the Jugovici, in the decisive battle against the Turks in the Kosovo field in 1389. Vojnovic?s play was performed in Belgrade and Zagreb in 1906 and 1907 respectively, as well as in Trieste (1911) and Prague (1926); and several Serbian and Croatian composers wrote incidental music for it. Slovenian composer Mirko Polic was also inspired by it and his work was performed in Ljubljana in 1947, while Konjovic?s ?festival drama? finished in 1960 was staged much later. Its premiere in 1983 was scrupulously prepared by the father-son duo, Dusan Miladinovic (conductor) and Dejan Miladinovic (director), who paid special attention to the visual aspect of the performance. The director, together with the scenographer Aleksandar Zlatovic created for The Fatherland a semi-permanent set of symbolical characters, with an enormous raven, made of jute, replacing the backdrop. The costume designer was influenced by medieval frescoes from Serbian monasteries in Kosovo. The director himself conceived a ?mute? and motionless appearance of figures of Serbian warriors in ?tableaux vivants? by placing them in attitudes of combat on the edge of the revolving stage during the curtain music between the acts. What the composer Konjovic aimed for with his last music drama was to eternalize in music the beautiful Serbian epic, depicting the tragic history of his people and thus reminding Serbs of their roots. In this sense The Fatherland was Konjovic?s Ninth Symphony and his oath of Kosovo.

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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’.

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Komakech, Morris D. C. "Under-the-Mango-Tree: a theatre-based male EMTCT engagement intervention in post-conflict northern Uganda." Global Health Promotion 27, no. 3 (December 9, 2019): 113–21. http://dx.doi.org/10.1177/1757975919873653.

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Male involvement in human immunodeficiency virus (HIV) care cascades is identified as a critical prerequisite for the successful elimination of mother-to-child transfer of HIV. Scant evidence exists on efficacious culturally appropriate and male-inclusive elimination of mother-to-child transfer interventions. This reflection-in-action paper highlights field notes and observations of the development of Under-the- Mango-Tree, a theatre-based male-inclusive intervention pilot tested in northern Uganda. The intervention included: (a) traditional drama, dances and songs and (b) expert testimonies and group dialogue. Observations in this pilot showed that a theatre-based intervention was suitable for social persuasion; role modelling and moderating mastery of experience through effectively combining simple songs, dances and drama; testimonies of successful adherence by expert clients; and through reflective group discussions. These observations have implications for male-inclusive elimination of mother-to-child transfer intervention development.

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Fabes, Richard A., and Linda Rennie Forcey. "Mothers of Sons." Journal of Marriage and the Family 49, no. 4 (November 1987): 951. http://dx.doi.org/10.2307/351992.

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Leeks, Wendy. "SONS AND MOTHERS." Art History 8, no. 3 (September 1985): 366–74. http://dx.doi.org/10.1111/j.1467-8365.1985.tb00175.x.

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Reynolds, L. "Sons and mothers." Canadian Medical Association Journal 181, no. 10 (November 9, 2009): 719. http://dx.doi.org/10.1503/cmaj.091789.

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Silverstein, Olga. "Mothers and Sons." Journal of Feminist Family Therapy 1, no. 1 (February 28, 1989): 3–22. http://dx.doi.org/10.1300/j086v01n01_02.

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O'Shea, Devin. "Mothers and Sons." American Book Review 40, no. 1 (2018): 20. http://dx.doi.org/10.1353/abr.2018.0130.

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Dissertations / Theses on the topic "Mothers and sons – Drama"

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Robins, Roy. "Mothers and sons : stories." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7960.

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Peukert, Janet. "Maternal agency and heteronormative constraints : heterosexual mothers of homosexual sons." Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444698.

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Twaddell, Karen G. "The reported shared experiences of six single mothers raising sons." Scholarly Commons, 2008. https://scholarlycommons.pacific.edu/uop_etds/2374.

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The purpose of this research was to explore the life of single-mothers raising boys. The focus of this research was to provide information of life experiences for women who raised sons by themselves. The study also showed effects of divorce on single-mothers, pointed out experiences specific to raising boys, and looked at the issue of support. The study involved interviewing divorced single-mothers with standard, open-ended questions about raising boys. The questions discussed such issues as their relationships with their sons, and what types of support, if any, they had while they raised their sons. Participants included single-mothers who had not remarried, who were college graduates and whose language of communication was English. The interviews were then recorded and transcribed. The findings indicate that support to the mother does matter. The majority of the mothers interviewed had support for themselves and for their child. In most of the cases where support was offered, the primary figure was another female. In two-thirds of the cases, the other adult support figure was the grandmother. In one other case, it was the mother's daughter. Much of the literature states that outcomes on the lives of boys raised by single divorced mothers should be heavily impacted by problems in their lives (Amato & Keith, 1991). The 6 boys of the mothers interviewed here were not. While 4 of the mothers also had girls, certain issues were specific to raising boys. While 3 of the boys were young, 3 were over the age of 18 and their lives had not followed the prevailing research. This study indicated that for this particular group of single-mothers, support from others, determination and hard work on the part of the mothers, have made a difference in the lives of their sons. By providing support to the mother, support was made available to the son.

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Lukalo, Fibian Kavulani. "Educating daughters, educating sons : mothers and schooling in rural Kenya." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608985.

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Bray, Sheila A. "Sons' remembered communication experiences with their mothers a research proposal /." Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000brays.pdf.

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Henderson, Michael-Kamau. "Decoding Metacommunication Patterns From African American Single Mothers to Sons." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2262.

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With a significant number of African American single-parent families responsible for raising a generation of male children, the focus of this qualitative case study was on exploring the African American single mother-son dyad to identify metacommunicative signals delivered from mothers to sons. This study was grounded in a theoretical framework combining attachment theory and social learning theory. The research questions focused on identifying metacommunication messages passed from mothers to sons and how metacommunication patterns influence the youth's social identity. Four single mothers with adolescent sons and 4 unrelated adult sons of single mothers participated in semistructured interviews. Data were collected and analyzed using content analysis and coding supported with NVivo software. Key findings revealed that the metacommunication was a dominant form of communication in the African-American family construct, and affected the parenting styles. From the mother's retrospective reports, African-American mother's adapted an authoritarian or helicopter parenting styles to control and protect their sons from racism, becoming victims of crime and violence, being arrested, or incarcerated. The key finding from the sons' retrospective reports was that negative metacommunication from single mothers to sons was associated with insecure attachment, avoidance, and risky behaviors. The implications for social change are that positive metacommunication can strengthen the African American single mother-son dyad. This information may lead to intervention strategies for targeting negative metacommunication patterns from African American single mothers to sons and teaching new communication rules that foster a secure relationship.

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Keener, Andrew S. "The Paternal Dilemma: Fathers, Sons and Inheritance in Shakespearean Drama." Thesis, Boston College, 2010. http://hdl.handle.net/2345/1210.

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Thesis advisor: Andrew Sofer
In this thesis, it is my task to explore Shakespeare’s social analysis concerning the patriarchal structure of the family and the economic implications of this system. Four plays in particular, King Lear, Henry IV, As You Like It, and The Tempest resonate with these thematic elements. At the heart of these plays is the issue I call the paternal dilemma; the father or patriarch is a mere human, cannot live forever, and therefore needs to rely on an inheritance scheme to ensure the continuation of his line. This problem sees the institution of inheritance (namely, primogeniture) as a solution or antidote to mortality. In an investigation of these issues, I place myself in an already rich field of secondary criticism, examining how genre and family structure combine in what is ultimately a conservative understanding of the Elizabethan family
Thesis (BA) — Boston College, 2010
Submitted to: Boston College. College of Arts and Sciences
Discipline: English Honors Program
Discipline: English

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Sokal, Laura. "Mothers, fathers, sons, and daughters, gender schematicity in the family context." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0018/NQ53079.pdf.

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Lyon, Elizabeth Lain. "Mothers, Sons, and the Gothic Family in Brown, Poe, and Wharton." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/67.

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Within Gothic literature, the mother is frequently missing. In Charles Brockden Brown’s Edgar Huntly, Edgar Allan Poe’s “Morella,” “Ligeia,” and “Eleonora,” and Edith Wharton’s “Bewitched,” men are left without parents, and they attempt to recuperate a mother-figure. To do so, the men in these texts psychologically project the role of their mother onto other women. Wives, sisters, and daughters all have the potential to become mothers to these men. This is a catastrophe for the women involved, for male perception fails to distinguish females as autonomous, unique beings. By conflating roles in the family structure, men destroy women and thus are left without the nurturing mother-figure – or indeed any female – they desperately need.

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Quinones, Hector M. "Communication about selected sexuality issues among Puerto Rican mothers, daughters, and sons /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1216751281&sid=12&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Books on the topic "Mothers and sons – Drama"

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Cardiff, Jack, Gavin Lambert, and T. E. B. Clarke. Sons and lovers. Beverly Hills, CA: Twentieth Century Fox Home Entertainment, 2013.

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Livingston, Elizabeth J. The president's mother. Elma, N.Y: Christian Drama Pub., 2003.

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Rabe, David. Visiting Edna. New York: Dramatists Play Service, 2017.

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Kaplan, Lila Rose. Wildflower. New York: Dramatists Play Service, Inc., 2010.

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Yockey, Steve. Pluto. New York]: Samuel French, 2017.

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Corley, Hal. Mama and Jack Carew. New York: Samuel French, 2009.

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Joynson-Wreford, P. A house divided. Studio City, CA: Players Press, 1996.

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Clapp, Tom. Tomorrow or the next day. Studio City, CA: Players Press, 1996.

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Onwueme, Osonye Tess. The missing face: Musical drama for the voices of color. New York: Africana Legacy Press, 1997.

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Sokurov, Aleksandr. Matʹ i syn: Mother and son = Mutter und Sohn. New York: Kino International, 2006.

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Book chapters on the topic "Mothers and sons – Drama"

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Kolb, Leigh C. "Mothers of Anarchy." In Sons of Anarchy and Philosophy, 175–86. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118641712.ch16.

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Harvey, Geoffrey. "Craftsmanship: drama and poetry." In Sons and Lovers, 72–77. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18507-8_11.

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Shields, Sara G. "On This Day of Mothers and Sons." In The Wonder and the Mystery, 109–11. London: CRC Press, 2022. http://dx.doi.org/10.1201/9781846198403-25.

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Gross, Barry. "All My Sons and the Larger Context." In Essays on Modern American Drama, edited by Dorothy Parker, 55–67. Toronto: University of Toronto Press, 1987. http://dx.doi.org/10.3138/9781487577803-006.

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McDonough, Susan. "Mothers and daughters and sons, in the law." In Litigating Women, 14–31. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429278037-2.

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Thomson, Heidi. "Mothers, Sons, and Poets in the Morning Post." In Coleridge and the Romantic Newspaper, 79–102. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-31978-0_4.

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Claeys, Gregory. "Address to the Fathers and Mothers, Sons and Daughters." In The Chartist Movement in Britain 1838–1850, 1–10. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003113218-1.

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Jeffrey, Ewan, and David Jeffrey. "Concealment: All My Sons, Arthur Miller (1947)." In Enhancing Compassion in End-of-Life Care Through Drama, 111–27. London: CRC Press, 2022. http://dx.doi.org/10.1201/9781846199622-7.

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Schultz, Celia E. "After Fulvia’s Death." In Fulvia, 104–18. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190697136.003.0005.

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Two of Fulvia’s sons, Curio and Antyllus, died at Alexandria alongside Antonius and Cleopatra in 30 BCE. Her other two sons flourished in reign of Augustus, as Octavian was then known. Claudius, almost an adult when his mother died, reached the praetorship. Iullus was just a toddler when Fulvia died. He became a close confidant of Augustus and was honored with a consulship in 10 BCE. He committed suicide eight years later, after being accused of adultery with Augustus’s daughter. Fulvia’s nachleben in popular media (art, literature, and drama) is in keeping with her treatment by ancient sources: they focus on tales of her cruelty and greed, and they often allow her to be overshadowed by the more sexualized characters of her sister-in-law, Clodia, and her romantic successor, Cleopatra. Fulvia’s historical legacy is best seen in the precedents she set for the brazen women of Rome’s imperial house.

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"Sons and Mothers." In Picturing Marie Leszczinska (1703–1768), 99–128. Routledge, 2017. http://dx.doi.org/10.4324/9781315089782-4.

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Conference papers on the topic "Mothers and sons – Drama"

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VanDam, Mark, Carsen Jessup, and Tracy Tully. "Mothers’ and Fathers’ differential talk to daughters and sons with hearing loss." In 172nd Meeting of the Acoustical Society of America. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000532.

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Adnyani, Kadek Eva Krishna. "Do Japanese Mothers Talk Differently to Daughters than Sons?: A Study of Bikago (Beautified Speech)." In 2nd International Conference on Innovative Research Across Disciplines (ICIRAD 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icirad-17.2017.14.

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Dingus-Eason, Jeannine. "“I’m His Mouthpiece”: Black Mothers Educating Sons at the Intersection of Race, Class, and Autism." In 2024 AERA Annual Meeting. Washington DC: AERA, 2024. http://dx.doi.org/10.3102/2105345.

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Koroliova, Elfrida. "Director Victor Gherlac’s activity." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.06.

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The shows staged by Victor Gherlac in 1940-1950 corresponded to their time. In the Stefan Batca show, staged just before the outbreak of the war, the foreboding of the war felt. On the eve of Victory Day, the premiere of the spectacular musical comedy One Night in May took place. The show Under the Chestnuts in Prague, staged in the first post-war years, reflected the contrasting visions relevant at the time. The show The Outlaws staged the struggle of the people against the oppressors (which oppressors?) in 1949. In 1950, in the romantic entertainment of the operetta Trembita, people's hopes for a new, happy life could be felt. Victor Gherlac is the director of several shows, among which it is worth mentioning: the fairy tale The Enchanted Mace, the musical comedies Mărioara’s Happiness and Ileana’Carpet, the musical choreographic enchantment, the satire Sanziana and Pepelea, the musical drama The Turbulent Danube, the poetic musical-choreographic show Ovidiu, the psychological musical show The man and the wolf, the dramatic show For the family home, Mother-in-law with three daughters-in-law, permeated by the inner musicality of Moldovan folk art filled with Moldovan folk melodies, songs, dances.

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Reports on the topic "Mothers and sons – Drama"

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Woods, Kevin M. Deep Battle and Interdiction: Twin Sons of Different Mothers. Fort Belvoir, VA: Defense Technical Information Center, February 1997. http://dx.doi.org/10.21236/ada325835.

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