Relevant bibliographies by topics / Places - drama

Academic literature on the topic 'Places - drama'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Places - drama"

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Slights, William. "Secret Places in Renaissance Drama." University of Toronto Quarterly 59, no. 3 (March 1990): 363–82. http://dx.doi.org/10.3138/utq.59.3.363.

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Stalmaszczyk, Piotr. "The Permanence of Place: Places and Their Names in Irish Literature." Studia Celto-Slavica 2 (2009): 93–109. http://dx.doi.org/10.54586/bcbf2160.

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This paper discusses the relation between places and their names as reflected in Irish literature. According to Robbie Hannan (1991: 19) attachment to place is among the strongest human emotions, explicitly revealed in literature. Celtic literature is ‘saturated’ with images of landscape and preoccupied with places and their names, landscape is constantly present in ancient sagas and bardic poetry, modern drama, short stories, novels and essays. The sense of place is explicitly manifest in medieval heroic tales (such as The Táin), and twentieth century novels (e.g. James Joyce’s Ulysses) and poetry, or contemporary drama (e.g. Brian Friel’s Translations). Patrick Sheeran (1988: 194) has observed that the idea of the Irish sense of place is: (a) a product of the native tradition; (b) it is a verbal or nominal preoccupation and has little to do with any actual cultivation of things; (c) it relates to death rather than to life. The principal aim of this paper is to further add to the above characteristics.
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Moewaka Barnes, Angela, and Helen Moewaka Barnes. "MĀORI IN UNEXPECTED PLACES: Watching Māori on Television." Sites: a journal of social anthropology and cultural studies 19, no. 1 (August 15, 2022): 34–59. http://dx.doi.org/10.11157/sites-id512.

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This paper draws on a study of audience responses, prompted by understandings of the power exerted by representations in television dramas. The wider study explored Māori and non-Māori meaning-making, emotions, feelings, and affective practices that arise when viewing Māori representations on locally produced television dramas. Findings from focus group responses to an episode of the local television drama The Brokenwood Mysteries are organised here, using a framework of the expected and unexpected that aligns with theories of Kaupapa Māori and affect. Three key themes emerged: ‘The Expected and Unexpected’; ‘Reflection and Challenge’; and ‘Motivations and the Writer’s Responses’. Although attention is on Māori, Pākehā responses are included. Māori were deeply affected and worked hard to pre-empt and address what they saw or expected to see. Although some Pākehā expressed discomfort and concern when responding to negative representations of Māori, they did not demonstrate the same levels of negotiation and contestation.
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Carpenter, Alexander. "Towards a History of Operatic Psychoanalysis." Psychoanalysis and History 12, no. 2 (July 2010): 173–94. http://dx.doi.org/10.3366/pah.2010.0004.

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This paper examines the history of the trope of psychoanalytic therapy in musical dramas, from Richard Wagner to Kurt Weill, concluding that psychoanalysis and the musical drama are, in some ways, companions and take cues from each other, beginning in the mid-19th century. In Wagner's music dramas, psychoanalytic themes and situations – specifically concerning the meaning and analysis of dreams – are presaged. In early modernist music dramas by Richard Strauss and Arnold Schoenberg (contemporaries of Freud), tacit representations of the drama of hysteria, its aetiology and ‘treatment’ comprise key elements of the plot and resonate with dissonant musical soundscapes. By the middle of the 20th century, Kurt Weill places the relationship between analyst and patient in the foreground of his musical Lady in the Dark, thereby making manifest what is latent in a century-spanning chain of musical works whose meaning centres, in part, around representations of psychoanalysis.
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Saleh Hasan Dahami, Yahya. "Arabic Contemporary Poetic Drama: Ali Ahmed Ba-Kathir A Pioneer." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 40–59. http://dx.doi.org/10.24093/awejtls/vol5no1.3.

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Many central playwrights significantly contributed to the progress and advancement of Arabic drama. They were apt to achieve dramatic illustrations in several Arabic countries all the way through ages and places. Still, this study attempts to shed light on an innovator poet-dramatist who represents many cultures and experiences. It aims at displaying the most significant features of renovation associated with the development of the modern Arabic poetic drama that employs history and social problems to present a vision for Arabic literature in the contemporary age. The researcher adopts the critical-descriptive approach in analyzing the poet-dramatist, Ali Ahmad Ba-Kathir, and two of his poetic dramas. It is mapped with an introductory overview dealing with a concise notion of drama, concentrating predominantly on poetic drama. The foremost part copes with the developer and pioneer Ali Ahmad Ba-Kathir, focusing on his thoughts and experiences in the field. The paper, then, moves ahead to deal with two verse plays as a model of his craftsmanship and mastery. After that, the study finishes with a brief argument and/or recommendations and an end.
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Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (December 30, 2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.

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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.
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Hardany, Hardany, and Sarah Samaria Najoan. ""Like or Rely? Korelasi Content Likeability dan Content Credibility terhadap Consumer Acceptance pada Advertising Product Placement." Inter Komunika: Jurnal Komunikasi 7, no. 2 (April 26, 2023): 15. http://dx.doi.org/10.33376/ik.v7i2.2011.

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Technological growth in the era of globalization is increasing, not only is technology increasingly sophisticated, but culture is also easily spread. The Korean wave emerged in Southeast Asia in the 2000s covering several cultural contents such as music (K-pop), fashion (K- fashion), and television (K-drama) which are related to each other. Endless Korean Drama Vincenzo is a Korean drama that features a product or has a product placement, namely Kopiko candy, one of the companies from Indonesia trying to implement an advertising strategy. The research objective was to determine the relationship between content likeability and content credibility with Kopiko's product placement. This study uses Laswell's communication theory, cultivation theory as well as content likeability, credibility and product placement. The method used is quantitative by distributing questionnaires to 100 respondents. In this study, validity and reliability tests were carried out as a test for analyzing respondent data, as well as using a linear regression test to see the relationship between variables. The results of this study concluded that content likeability and content credibility can be the selling points of a product shown through a film or drama that places a product or product placement to be able to influence viewers who like Korean films or dramas Vincenzo.
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Strejčková, Hana. "Site-Specific Author’s Drama." Amfiteater 9, no. 2021-2 (June 30, 2022): 216–32. http://dx.doi.org/10.51937/amfiteater-2022-1/216-232.

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The article discusses the role of the playwright in contemporary site-specific drama and the role of the director of site-specific performance. The study aims at three main areas: the author’s drama based on the recent history of the 20th century; the performative potential of the commonness and of oral history; and contemporary site-specific drama. As a playwright, the author focuses on the memories of witnesses and socially taboo topics. As a theatre director, she examines approaches for transforming into theatrical language the memory of place, the collection of data from oral history and burning issues. She looks at the relations between playwrights and site-specific performance. She observes the links among the topic, communication means and non-theatrical places. This qualitative longitudinal art research is based on experience from theatre practice, analysis and comparison of theoretical knowledge. The author gives examples of authorial plays and reports on their productions, specifically stating these dramas: Midnight in the Borderland (3. and 4. 5. 1950, a monastery), Three Chairs (Alzheimer’s disease, a retirement home), From Majdalenka to Madla (World War II, cellar), Hotel on the Corner (1932–1989, old theatre building). The study emphasises the need for a creative and attentive approach by the author, playwright, dramaturg and director to create a whole new world from the duality: ordinary and taboo. It turns out that the combination of a strong theme, an unusual place tied to the topic of the drama, and the participatory role (active/passive) of the audience can be an effective strategy and even “tactic” in strengthening the role of the author in drama after the year 2000.
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Putro, Agung Prayitno, Herman J. Waluyo, and Nugraheni Eko Wardhani. "Values of character education in the Opera Kecoa drama script by N. Riantiarno." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, no. 2 (July 25, 2019): 146–53. http://dx.doi.org/10.30998/jh.v1i2.49.

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This study aims to describe the values of character education contained in a drama script. This research uses descriptive qualitative method with the subject of research is drama Opera Kecoa by N. Riantiarno. Data sources are obtained from places and events, informants, drama script, and documents. Data collection using document analysis techniques. As one form of literary work, Opera Kecoa drama script contains character education values. The values of character education in this drama script are shown through characterizations and the flow of events in each round. Based on the results of the analysis found ten character education values contained in the Oera Kecoa drama script, these values include: religious, social care, tolerance, hard work, discipline, democracy, patriotic, love peace, friendly, independent, creative, and responsibility . By reason of the values of these characters, the Opera Kecoa drama script, can be used as a medium of learning in the college literature.
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Szatek, Elsa. "Moving Spaces: Mapping the Drama Room as Heterotopia." Education Sciences 10, no. 3 (March 10, 2020): 67. http://dx.doi.org/10.3390/educsci10030067.

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This article is aimed at exploring the political characteristics of the drama space, which reflects, juxtaposes, and opposes particular sites in a participant’s everyday life, such as the school. By putting spatial theories to work, this article investigates the drama space belonging to an all-girls community group in Sweden, participation in which is voluntary and where the artistic work produced relies on a democratic process, with the girls’ input being vital. I conceptualise the drama room as a heterotopia that functions as an exclusive and excluding space as a well as a space of resistance. Based on interviews with the girls, this ethnographic study challenges the conventional notion that applied drama is only an interrelational matter between the drama participants. By examining the drama room’s role as the ‘other place’ in the girls’ everyday lives while being connected to ‘everyday’ places, this article demonstrates the drama room as an important space for the girls to have agency, there and elsewhere. When placing space and place in the foreground, a ‘dramaspaceknowledge’ emerges, the influence of which stretches beyond the drama room. This article argues that the girls’ dramaspaceknowledge is utilised when creating a performance and while challenging structures and norms elsewhere, such as in their schools and communities.
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Dissertations / Theses on the topic "Places - drama"

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Benson, Simon. "The production of early modern dramatic space : practices, places and perceptions." Thesis, University of Hull, 2010. http://hydra.hull.ac.uk/resources/hull:2719.

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From the introduction:This dissertation explores the nature and development of dramatic space in early modern England. Arguing that essential to its quality and character was the early modern player’s ability to produce highly creative and productive spatial textures and experiences, this dissertation examines some of the shifting attitudes to and uses of space from ca. 1516 (the date of publication of Thomas More’s Utopia) to the first decade of the 17th century for what they reveal about the spatial economies that common playing responded to, participated in, developed and sustained. The theoretical basis for the work draws from the phenomenological philosophy of Lefebvre, de Certeau, Merleau-Ponty and Derrida – all of whom offer different but complementary ways of recognising the instrumental role of primordial experience (as opposed to the forms of intellectualised knowledge through which experience is subsequently organised and mediated) in the production of meaning. For Mike Pearson and Michael Shanks, recognizing space as the product of experience is the necessary first step toward opening up the creative approaches necessary for recontextualising the past. Rather than approaching the past looking for ‘things’ to collect and curate, Pearson and Shanks engage with it as an embodied field, wandering through it as one would a landscape, noting its various identities, instabilities and its constantly shifting textures. Their highly spatial and spatialising approaches take account of what is lost when we engage with the past solely (or even largely) through texts (and the discourses texts sustain), and they argue for stories (plural) about the past rather than the production of single, dominant and authorising texts on it. Similarly, Michel de Certeau, asserting the value of the knowledge that is derived from stories, argues for a theory of narration in relation to practices and the spaces practices produce – for de Certeau, stories (plural) cannot be reduced to a single meaning, they ‘are not about movement, they make movements, not objects but effects, they transform, they do exactly what they say they do […] they bring invisible geographies into contact with the ordered realm of the rational’ (italics original). In seeking to describe and account for the ephemeral and elusive nature of early modern dramatic space, this dissertation recognises the impossibility of such a task (of translating primordial experience into language). However, by taking into account some of the spatial transactions and exchanges that early modern dramatic production participated in, the story told here attempts to make visible a normally invisible geography by pointing out those logics of practice (‘the ordered realm of the rational’) through which that geography is/was produced.
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Pidduck, Julianne. "Intimate places and flights of fancy, gender, space, and movement in contemporary costume drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0007/NQ40298.pdf.

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Theodoraki, Anezina. "SEEING THE SEEING PLACES A Video Documentary on the Historical Significance of the Ancient Greek Theatres of Lato, Thorikos, and Makynia." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1082120594.

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Rothkirch, Alyce von. "The place of Wales staging place in contemporary Welsh drama in English." Trier Wiss. Verl. Trier, 2007. http://www.wvttrier.de/top/Beschreibungen/MUSE.html.

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von, Rothkirch und Panthen Alexandra Victoria. "The place of Wales : staging place in contemporary Welsh drama in English." Thesis, Swansea University, 2003. https://cronfa.swan.ac.uk/Record/cronfa42349.

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This thesis discusses discursive constructions of place, which are seen to largely replace essentialist constructions of place, in contemporary Welsh drama in English (1979-2003). Place is seen as a particularly important structural element both of constructing reality in Wales and of replicating that reality in the theatre. The relatively new critical shift towards an interest in place in Western cultural criticism contributes, it is argued, to a new 'structure of feeling' (Raymond Williams) in the writing of new Welsh plays in the English language. The first chapter deals with the way in which the literary realistic paradigm, which had dominated Welsh playwriting in English from the beginning of the twentieth century, is slowly being superseded by other, often non-realistic, forms of representation. The second chapter deals with selected plays of Die Edwards. It interrogates the innovative ways this playwright constructs place and uses language to represent his highly politicised reading of Welsh reality. The third chapter focuses on selected plays written on historical themes and place. The chapter interrogates motivations to write history drama and the different forms history plays have taken in recent Welsh drama in English. The fourth chapter deals with gendered readings of place. Selected plays and two performances are discussed on the basis of a reading of Luce Irigaray's theory of 'woman as place.' The final chapter approaches place from a theoretical angle that unites the postcolonial paradigm and the new concept of sustainability. It is argued that, despite the shortcomings of the central tenets of postcolonial theory when applied to Wales, the framework of postcolonial theory offers valuable new ways of reading place in Welsh drama in English. A bibliography is attached.
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Dickert, James Nicholas. "Space, place, and identity politics : the drama of Naomi Wallace /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3147817.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes an interview with Naomi Wallace (leaves 163-204). Includes bibliographical references (leaves 205-215). Also available for download via the World Wide Web; free to University of Oregon users.
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Kiel, Sue. "Homecoming: finding a place for shamanic practice in the creation of post colonial theatre." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/12549.

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At the centre of my research, in the light of my homecoming and notions of home, there is a question: might I find a place where dimensions of shamanism might intersect with modes of performance, in the creation of theatre for the 21st Century? In this liminal hybrid moment, a place between the present and the future, I suggest that art is actually necessary and that it is essential for artists to build a counter-narrative, both locally and globally, to terror, suffering and denial. Art and social change can be a trend for certain nations, societies, even artists and theorists. In my view, however, which is my point of departure, it is particularly in an era of self reference, modernity, post modern and post colonial rupture and fragmentation that an informed coherence between the inexplicable terror of unsettling major social upheaval and the individual, may be able to be sketched once again and with certainty, by and through art and performance; if not actual transformation; then a witnessing, an acknowledgement and an end to the pain of denial. This explication begins with an overview of current socio-political dilemmas, and looks at the role of theatre in impacting change. My exploration continues with an examination of the role of shamanism as a tool to assist the theatre maker, the actor and even the audience in the pursuit of a transforming experience where one might initiate a shift in perceptions, thought and consciousness. In my observation of current theatre makers in South Africa, I am finding that this is already taking place. The object of this paper is to frame and make more specific, the role of shamanism as it connects to interdisciplinary techniques and technologies for performance. In my practical research, which will include my culminating production, Passages (provisional title), I attempt to tease out these methodologies in order to expand my work and be a part of the development of theory and practice in theatre making in these significant and urgent times, for my 21st Century homes. The primary theorists that I have referenced, contained in my theoretical framework, are Ashraf Jamal, Sarah Nuttall, Achille Mbembe, Homi Bhabha, Breyten Breytenbach, Iain Chambers and Hamid Naficy. In my research for my praxis, I have worked predominantly with the findings of Richard Schechner, Victor Turner, Antonin Artaud, Peter Sellars, Jerzy Grotowski, Alison Oddey and Rachel Karafistan.
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Halligey, Alexandra. "Of place and playmaking: working with everyday city spaces through theatre and performance." Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/28406.

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This thesis proposes theatre and performance as tools for understanding the relational emergence of city spaces. It responds to two related urban studies calls. The first is for fine-grained ethnographies of the everyday to learn what city spaces might be becoming in order to strategise how to support these becomings. The second falls under the ‘cultural turn’ in urban thinking: what artistic projects might offer an everyday urbanism. Through an everyday urban lens, the work asserts the performativity of daily actions in constructing space, but also the affectual qualities that daily city life produces. These affectually charged, spatial constructions through the interrelation of daily activity are what make spaces become places, places that are temporary and always evolving. This thesis draws a link between everyday placemaking practices and the artistic practice of playmaking to propose theatre and performance as a way of learning about city spaces, actively engaging with this knowledge and broadcasting it. It argues that theatre and performance staged in the sites it seeks to know and in concert with city dwellers has the capacity to facilitate an embodied, but reflective experience of what it is to be continually implicated as a city dweller in spatial – and therefore place – construction through daily actions. The work takes as its primary focus a year-long participatory theatre and performance project run in the Johannesburg inner city suburbs of Bertrams, Lorentzville and Judith’s Paarl, resulting in a ‘site-specific’ play performed in the streets of the area. The practical component to the study is contextualized within the broader landscape of Johannesburg public art interventions over the last 15 years and specifically in relation to two other Johannesburg-based participatory public art projects: Terry Kurgan’s Hotel Yeoville and a series of public art commissions managed by The Trinity Session. The research uses Tim Ingold’s notion of corresponding with materiality in order to know as a methodology in service of understanding cities through their relational construction. This phronetic approach – knowing through doing – is applied to interpreting Kurgan’s and The Trinity Session’s work and to both the making of the theatre project in Bertrams, Lorentzville and Judith’s Paarl and the writing of this thesis. The study takes place at the intersection between urban studies, theatre and performance studies and public art. It draws together the socially-engaged concerns and considerations of all three fields to propose theatre and performance as a public art form offering a mode of productive, robust engagement with the contemporary urban moment.
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Cimei, Christopher Yo. "Troubling spaces : the representation of space and place in Troubles-era Northern Irish drama." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25945.

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Troubling Spaces explores the relationship between the representation of space and place on the Northern Irish stage and the production of space that occurs within Northern Irish society during the Troubles. Drawing from Henri Lefebvre’s The Production of Space, I examine how Nationalists and Unionists produced a series of communal narratives which allowed them to reorder Northern Irish space and its social relations. Additionally, I examine how these communal ideologies create divergent concepts of Northern Irish place which Doreen Massey refers to as negative and enclosed concepts of place. This not only reinforces the dualistic binary between Nationalism and Unionism, it also incites tribal associations and allegiances. Moving on from this, I conduct a close reading of three Troubles plays, Stewart Parker’s Northern Star and Pentecost and Christina Reid’s Tea in a China Cup, to examine how their dramatic narratives intersect and interact with non-traditional stage space to produce dramatic environments which provide compelling commentaries on Northern Irish spatiality. My examination of Northern Star traces the development of the ideological structures which shape Northern Irish spatiality; in Pentecost, I explore how its liminal domestic space is perfectly suited to illustrate the dynamic conceptualisation of place Massey argues for; and, finally, in Tea in a China Cup, I develop the distinction between private domestic spaces and public social spaces further by examining matrilineal narratives in relation to communal symbols within a female-coded domestic space. Through these close readings, I will demonstrate that a dialogical relationship can be discerned between the production of space and place that occurs within Northern Irish society and the representation of it on the Northern Irish stage. While many plays have the potential to act as an endorsement of the restrictive and enclosed concepts of space and place in the ideological frameworks of Nationalism and Unionism, the three that I have chosen provide important counterpoints during the Troubles that actively resist their cultural hegemony.
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Böhnke, Dietmar. "Alyce von Rothkirch: The Place of Wales. Staging Place in Contemporary Welsh Drama in English. Trier 2007 (Rezension)." Universitätsverlag Winter, 2010. https://ul.qucosa.de/id/qucosa%3A34489.

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Books on the topic "Places - drama"

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Parkinson, Aidan. Going places. Dublin: Passion Machine, 1991.

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Pinter, Harold. Other places: Three plays. London: Faber and Faber, 1991.

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Kate, McDermott, ed. Places, please!: The first anthology of lesbian plays. [Iowa City, Iowa]: Aunt Lute, 1985.

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Sabol, John G. Ghost excavator: Unearthing the drama in the mine fields. Bloomington, IN: AuthorHouse, 2007.

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Sabol, John G. Ghost excavator: Unearthing the drama in the mine fields. Bloomington, IN: AuthorHouse, 2007.

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Glore, John. Wind of a thousand tales: Folk tales from faraway places. Schulenburg, TX: I.E. Clark, 1991.

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Resnais, Alain, Jean-Michel Ribes, and Bruno Pesery. Cœurs: Private fears in public places. [United States]: IFC Films, 2007.

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Zucker, Adam. The places of wit in early modern English comedy. Cambridge: Cambridge University Press, 2011.

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Navarrete, Manuel Sánchez. Milacres de Sant Vicent Ferrer: Representats en els carrers i places de la ciutat i pobles del Antic Regne de Valencia durant les festes patronals dedicades a este Sant. [Valencia]: Ajuntament de València, 2000.

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Hardy, Thomas. Hardy at home: The people and places of his Wessex. London: Barrie & Jenkins, 1989.

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Book chapters on the topic "Places - drama"

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Pearson, Mike. "Of all places … drama and place." In The Routledge Handbook of Place, 719–29. Abingdon, Oxon ; New York, NY : Routledge, 2020. |Includes bibliographical references and index.: Routledge, 2020. http://dx.doi.org/10.4324/9780429453267-63.

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Lerud, Theodore K. "Plays, Places, and the Dramatic Records." In Memory, Images, and the English Corpus Christi Drama, 95–104. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613799_8.

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Lerud, Theodore K. "The Missing Link: Spaces, Places, and the Chester Whitsun Plays." In Memory, Images, and the English Corpus Christi Drama, 135–46. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613799_11.

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Lerud, Theodore K. "Corpus Christi Drama and the Places of Memory: Liturgical Precedents and Illuminated Manuscript Analogues." In Memory, Images, and the English Corpus Christi Drama, 63–93. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613799_7.

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Richardson, Christine, and Jackie Johnston. "The Place." In Medieval Drama, 108–26. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21180-7_8.

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Nicholson, Helen. "Narratives of Community and Place." In Applied Drama, 85–109. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-11129-6_5.

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Nicholson, Helen. "Community Narratives: Space, Place and Time." In Applied Drama, 83–106. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20469-0_5.

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Lojek, Helen Heusner. "Travelling in Place." In The Spaces of Irish Drama, 65–95. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230370418_4.

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Westgate, J. Chris. "“City, Bad Place”: Architecture and Disorientation in New York City." In Urban Drama, 59–89. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119581_3.

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Zucker, Adam. "Space and Place." In A New Companion to Renaissance Drama, 501–12. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch35.

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Conference papers on the topic "Places - drama"

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Markle, David A. "Limits of optical lithography." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1990. http://dx.doi.org/10.1364/oam.1990.mp2.

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The performance requirements of optical lithography equipment are driven by DRAM memory chips which require a 30% reduction in line width and a three-fold increase in resolution elements every generation. Until now semiconductor chips were small enough that arrays of them could be placed in the field of a lithography lens. This placed the emphasis on higher resolution for each new lens generation. The development of the 16-Mb DRAM has changed our priorities. The next generation of memory chips and all those to follow will require substantial increases in field sizes as well as resolution and therefore a more aggressive development pace. Within only a few short generations, conventional resolution lenses will approach 500 lb in weight and $1M in cost.
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2

Butnaru, Tatiana. "An Archetypal Symbol of Immortality." In Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.22.

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In the present article - the archetypal meaning of the bird - cuckoo, a folkloric topos of wide distribution in the novelistic epic, with obvious sacred meanings and springs of maximum inner concentration, found expression. The image of the bird - cuckoo is present in several folklore texts, lyrical songs, ballad subjects, being placed in the context of ritual situations, with openness to new ontological dimensions, it expresses different postures of the human spirit, with an orientation towards a dramatic contemplation of human joints, of vital life problems. The cuckoo bird participates in the soul drama of the epic heroes, appearing as a messenger of deep feelings, feelings, inner turmoil and carries a symbolic and functional meaning at the same time, it is meant to deepen a vast spiritual universe, to express some springs fundamentals of human existence.
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Gaspar, S. M., R. H. Krukar, K. P. Bishop, K. C. Hickman, L. M. Milner, S. S. H. Naqvi, and J. R. McNeil. "Applications of Light Scatter for Microelectronics Manufacturing." In Surface Roughness and Scattering. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/surs.1992.smc1.

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As the level of microelectronics integration increases, device design geometries decrease. For example, current state of the art fabrication lines for high performance devices (e.g. microprocessors and DRAMs) use design geometries with critical dimensions (CDs) of 0.8 μm and smaller. Further, SEMATECH's goal for 1993 is to have CDs of 0.35 μm in production capability; goals of 0.15 μm are being discussed for the late-1990s. This trend greatly reduces processing latitude in device fabrication and thus places even greater demands on materials properties and process control. For these goals to be met, there must be more diagnostics capabilities than presently exist. Optimal characteristics for diagnostics include being noncontact, nondestructive, simple, quantitative, rapid, and capable of being implemented in-situ.
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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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Miasnikova, Marina, and Alexandra Trukhina. "Character, Author, Viewer of Documentaries in the Public Space of New Media." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-54.

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Any screen message usually comprises three components: life drama in the form of a story about a real person as the character; the author’s intention to create an artistic world containing footprints of the creative personality and the author’s concept; and the viewer’s mindset regarding this world. Thus, a screen document is created by three participants of communication: character, author, viewer, though each of them differently manifests itself in turbulent conditions of ongoing media-transformations. Under the new direction named ‘real’, ‘actual’, ‘horizontal’ cinema, the documentary screen is increasingly featuring a new hero: a private, ‘simple’ person who is easy to watch with a lightweight digital camera, and who himself, blurring the line between the personal and the public, does not mind picking up the camera for the purpose of self-presentation. The author has an opportunity to demonstrate his films on new media platforms. And the viewer participates in the creation of interactive documentaries. Thus, the article covers the essential and functional changes taking place with characters, authors, and viewers of modern documentaries as an open system at their transition (alongside this movie type itself) from the existence within the framework of old, conventional media (big-screen cinema and television) to relevant media platforms (social media, new media, mobile devices, etc.).
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Daraklitsa, Elina. "THE SYMBOLISMS AND DRAMATURGIC NOTIONS IN THE TROJAN WOMEN UNDER JEAN PAUL SARTRE�S POLITICAL AND PHILOSOPHICAL VIEW." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s03.03.

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The present study examines the contemporary rewriting in the French language of Euripides' play The Trojan Women by Jean Paul Sartre. The French philosopher having the intention once more to deal with humanity�s big problems, he intensifies Euripides� text with elements drawn from modern society and era. The theme dealt with is war and suppression, along with their conviction, a pattern especially popular with the creator since it is the one he deals with in his debut drama Bariona ou le fils de tonnerre (1940). Also, The Trojan Women (1964) linguistic style matches that of Bariona and Nekrassov (1955), since the personalities of the main heroes in all three plays are governed by the same notions: self � denial, rebelliousness and a firm belief in the ideals. The element which distinguishes the abovementioned texts from the rest of the writer�s dramaturgic work is their abstinence from an existential and psychological � analytical spirit. Thus, the existentialist dramaturgist�s familiar speech with which so many scholars have been preoccupied is almost absent from The Trojan Women. The Sartre�s goal is to �shout out loud� Euripides� big truths and in order to achieve it, he instills into his heroes additional characteristics, thus giving them an even more rebellious and aggressive constitution than the already existing one, expressed by a modern glossolalia. In The Trojan Women, the pioneer writer also deals with the impaired place of woman in contemporary society, an idea also existing in current days.
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Mitchell, James, John Cunningham, Ashok V. Krishnamoorthy, Robert Drost, and Ron Ho. "Integrating Novel Packaging Technologies for Large Scale Computer Systems." In ASME 2009 InterPACK Conference collocated with the ASME 2009 Summer Heat Transfer Conference and the ASME 2009 3rd International Conference on Energy Sustainability. ASMEDC, 2009. http://dx.doi.org/10.1115/interpack2009-89355.

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Proximity Communication (PxC) enables VLSI chips placed face-to-face to communicate using close-field capacitive coupling. In a 90 nm standard CMOS technology, using the packaging techniques described in this paper, PxC provides chip-to-chip latency of 2.5 ns at 4 Gb/s per channel with less than 2.5 mW/Gb/s, an areal bandwidth density of 0.83 Tb/s/mm2, and a BER less than 10−15. At a system level, the benefits of PxC scale directly with the number of chips that can be packaged together, because PxC enables designers to aggregate multiple chips that perform as a single large piece of silicon. The chips can also be heterogeneous to provide an optimized mix of process technology and functionality, such as integrating DRAM chips, NAND flash memory, and CMOS processor chips. In this paper we describe packaging advances and technology prototypes that enable PxC and provide its system-level benefits.
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Morello, André Alain. "Au bord de l'eau, sur l'eau, dans l'eau: les expérimentations de Claudel dramaturge." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3089.

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Dans l'imaginaire de Paul Claudel, l'eau occupe une place éminente. Dans Cinq Grandes Odes et dans Connaissance de l'Est, le poète célèbre comme aucun autre poète cet élément qui va se trouver pleinement associé à la dimension religieuse de son œuvre. Dans son théâtre, Claudel, tout en reprenant la fonction religieuse de l'eau (rituel du baptême, dogme de la communion des saints) va donner à l'eau une fonction essentielle dans un travail de renouvellement de la dramaturgie. C'est le cas dans L'Echange qui fait de la plage le décor du drame: le personnage de Louis Laine, figure du poète, rêve de « vivre dans l'eau profonde » et de nager « comme un poisson ». Dès la première scène, il dit à Marthe qui l'écoute la jouissance qu'il éprouve en se jetant dans la mer « telle que le lait nouvellement trait ». Le Soulier de satin amplifie encore le rôle de la mer : l'œuvre dans son ensemble est une sorte de gigantesque « bateau ivre » voguant sur le « Poème de la mer ». la première journée s'ouvre sur le spectacle d'un navire démâté qui flotte au milieu de l'Océan Atlantique ; la quatrième journée, intitulée « Sous le vent des îles Baléares », trouve son unité dans cette étonnante association de scènes maritimes, comme celle de la farce des pécheurs (IV, 1), celle des « pontons » qui représente toute la Cour d'Espagne sur un Palais flottant (IV, 9), une autre scène « en pleine mer », dans laquelle Dona Sept Epées nage aux côtés de la Bouchère... C'est cette place accordée à l'eau et à la mer que nous voulons interroger, dans cette prespective d'une incroyable déstabilisation du lieu scénique.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3089
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Simon, Vibin Shalom, Geevarghese Joseph, Anto Barigala, Satyam Saini, Pardeep Shahi, Lochan Sai Reddy Chinthaparthy, Pratik Vithoba Bansode, and Dereje Agonafer. "Parametric Multi-Objective Optimization of Cold Plate for Single-Phase Immersion Cooling." In ASME 2023 International Technical Conference and Exhibition on Packaging and Integration of Electronic and Photonic Microsystems. American Society of Mechanical Engineers, 2023. http://dx.doi.org/10.1115/ipack2023-112010.

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Abstract The increasing demand for high-performance computing in applications such as the Internet of Things, Deep Learning, Big data for crypto-mining, virtual reality, healthcare research on genomic sequencing, cancer treatment, etc. have led to the growth of hyperscale data centers. To meet the cooling energy demands of HPC datacenters efficient cooling technologies must be adopted. Traditional air cooling, direct-to-chip liquid cooling, and immersion are some of those methods. Among all, Liquid cooling is superior compared to various air-cooling methods in terms of energy consumption. Direct on-chip cooling using cold plate technology is one such method used in removing heat from high-power electronic components such as CPUs and GPUs in a broader sense. Over the years Thermal Design Power (TDP) is rapidly increasing and will continue to increase in the coming years for not only CPUs and GPUs but also associated electronic components like DRAMs, Platform Control Hub (PCH), and other I/O chipsets on a typical server board. Therefore, unlike air hybrid cooling which uses liquid for cold plates and air as the secondary medium of cooling the associated electronics, we foresee using immersion-based fluids to cool the rest of the electronics in the server. The broader focus of this research is to study the effects of adopting immersion cooling, with integrated cold plates for high-performance systems. Although there are several other factors involved in the study, the focus of this paper will be the optimization of cold plate microchannels for immersion-based fluids in an immersion-cooled environment. Since immersion fluids are dielectric and the fluids used in cold plates are conductive, it exposes us to a major risk of leakage into the tank and short-circuiting the electronics. Therefore, we propose using the immersed fluid to pump into the cold plate. However, it leads to a suspicion of poor thermal performance and associated pumping power due to the difference in viscosity and other fluid properties. To address the thermal and flow performance, the objective is to optimize the cold plate microchannel fin parameters based on thermal and flow performance by evaluating thermal resistance and pressure drop across the cold plate. The detailed CFD model and optimization of the cold plate were done using Ansys Icepak and Ansys OptiSLang respectively.
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Herschbein, Steven B., Carmelo F. Scrudato, George K. Worth, and Edward S. Hermann. "Multi-Site Full Thickness Backside Focused Ion Beam (FIB) Editing for eDRAM Array Address Descramble Verification." In ISTFA 2012. ASM International, 2012. http://dx.doi.org/10.31399/asm.cp.istfa2012p0498.

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Abstract Focused Ion Beam (FIB) modification for chip repair, layout verification, and internal signal probing has become an integral part of the process for bringing advanced products to market. As devices become more complex, with more levels of dense, thick upper power planes and tighter lower point-to-point wiring and device geometries, primary FIB access through the backside of the chip has become the only viable approach. And the pervasive switch to flip-chip solder bump mounting of chips to modules and chip to chip stacked die has made the backside editing approach ever more sensible by placing the unobstructed backside of the die within easy reach. Sample preparation for backside edit, however, has become a growing problem. Mechanical thinning of the silicon to speed trenching time can be problematic on highly stressed chips as there is a high risk of silicon cracking. Plus there are situations in which die strength must be preserved to enable the transfer of an edited die to a new substrate. While single point full thickness silicon editing has been demonstrated, the need to make multiple trenches for repetitive edits can be extremely time consuming when using conventional FIB bulk removal recipes. A single logic error often gets repeated in each core of a multi-core chip, and may need to be fixed at each location. Verification of existing SRAM and the introduction of embedded DRAM (eDRAM) for large blocks of L3 cache on high end microprocessors meant that the FIB lab would be called upon to provide layout checking services on a number of designs. Clearly, a better method for rapid mass silicon removal needed to be developed to keep multi-point backside editing viable. Through an extensive set of experiments we were able to develop a process that can sustain a removal rate of 10 million cubic microns of silicon per minute, enabling full thickness trenches in as little as 25 minutes. As will be shown, this preparation technique was successfully used to ensure the bit map descramble accuracy of multiple eDRAM array blocks in several cores, and to help evaluate test coverage.
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Reports on the topic "Places - drama"

1

Poloboc, Alina. Fancy Lollipop. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2997.

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"Fancy Lollipop" is a vibrant and energetic artwork featuring a blend of bold and bright colors. The color palette, which includes shades of blue, pink, and black, creates a sense of drama and theatricality in the piece. The colors are strategically placed in the composition to emphasize key elements of the image, such as the main character, Fancy Lollipop. Speaking of the main character, Fancy Lollipop is depicted as an extravagant and self-assured individual. Their presence in the artwork is unmistakable, and their confident and assured stance reflects their bold and attention-grabbing personality. The use of quick, expressive brushstrokes in their figure creates a sense of movement and energy, further enhancing the feeling of spectacle and showmanship in the piece. Overall, "Fancy Lollipop" is an impressive example of contemporary art that draws on real-life characters encountered by the artist during their stay in Miami. The artwork offers an immersive visual experience that captures the viewer`s attention with its colorful and energetic composition, and is sure to leave a lasting impression on those who encounter it.
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