Journal articles on the topic 'Reading – political aspects – drama'
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HUTSON, LORNA. "Forensic Aspects of Renaissance Mimesis." Representations 94, no. 1 (2006): 80–109. http://dx.doi.org/10.1525/rep.2006.94.1.80.
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ABSTRACT Current approaches to Renaissance drama, rejecting the older idea of mimesis as likeness to an essential ““nature,”” have also rejected the assumption that Shakespeare's drama is especially mimetic. This article argues that these approaches neglect the contribution of narrative coherence or plot tomimesis and shows that a judicial conception of narrative underlies the mimesis of neoclassical Renaissance drama, including Shakespeare. Mimetic readings of Shakespeare may thus be appropriately legalistic responses to an evidentially based conception of plot.
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Hamilton, John T. "Aspects of reception: reading Goethe’s Iphigenie auf Tauris with Adorno, Fassbinder, and Jauss." Classical Receptions Journal 12, no. 2 (October 17, 2019): 129–48. http://dx.doi.org/10.1093/crj/clz016.
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Abstract In staging his Iphigenie auf Tauris, Johann Wolfgang Goethe stages reception itself. The story about a Mycenaean maiden who, exiled from her home in the South, was welcomed and sheltered by the barbarian people of the North, readily represents how the corpus of ancient Greek culture, detached from its native historical context, came to be received and curated by German artists, poets, and scholars, including, of course, by Goethe himself. If Goethe’s text is indeed understood as an allegory of reception, then subsequent readings of his Iphigenie should exhibit any number of ways in which reception itself has been formulated and assessed. The investigations here all turn on the issue of verbal aspect. By turning to key German interpretations of Goethe’s drama by Theodor Adorno, Rainer Werner Fassbinder, and Hans Robert Jauss, which emerged during the socially and politically tumultuous period of 1967–73, the present study aims to give a critical account of receptive paradigms — an account based on an investigation into the varied aspects that distinguish different historical receptions of reception.
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Roselli, D. K. "The Work of Tragic Productions: Towards a New History of Drama as Labour Culture." Ramus 42, no. 1-2 (2013): 104–21. http://dx.doi.org/10.1017/s0048671x00000096.
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The study of the ancient world has often come under scrutiny for its questionable ‘relevance’ to modern society, but Greek tragedy has proven rather resilient. From tragedy's perceived value in articulating an incomplete but idealised state of political and ethical being in Hegel to its role in thinking through the modern construction of politics and gender (often through a re-reading of Hegel), tragedy has loomed large in modern critical inquiry into definitions of the political and the formation of the subject.’ This is another way of saying that the richly textured tragic text has in some respects laid the foundation for subsequent theorising of the political subject.Given the importance placed on such figures as Sophocles’ Oedipus and Antigone starting with Schelling and Hegel, it is perhaps not surprising that recent work in critical theory has tended to recast these particular tragic figures in its critique of Enlightenment thought. Nonetheless, there are problems with the adoption of these figures as paradigms through which tragedy becomes a tool to represent the ancient Greek polis and to work through modern political and ethical problems. The repeated returns to certain aspects of Oedipus or Antigone have contributed to a structured silence around the issue of class relations. Along with the increasingly dominant role of neoliberalism and the continuing importance of identity politics, much recent critical theory has contributed to the occlusion of class and labour from public discourse and academic research. In such a climate, it is no wonder that historical materialism rarely figures in academic works. I wonder whether another narrative is possible through the study of Greek tragedy.
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Penteado, Flávio Rodrigo. "Oswald de Andrade, dramaturgo piromaníaco// Oswald de Andrade, a pyromaniac dramatist." O Eixo e a Roda: Revista de Literatura Brasileira 32, no. 2 (November 16, 2023): 28. http://dx.doi.org/10.17851/2358-9787.32.2.28-45.
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Resumo: O artigo se propõe a examinar a atuação de Oswald de Andrade como dramaturgo, com destaque para A morta – ato lírico em três quadros (1937). A peça se encerra com um incêndio, provocado pela personagem do Poeta e cujas chamas se espalham por todo o teatro. Por um lado, é possível enxergar nesse desfecho a explicitação do furtivo ímpeto revolucionário da obra, na qual se encena o embate entre a classe trabalhadora insuflada por ideias marxistas e a elite patronal adepta do integralismo fascista. Por outro lado, também é possível enxergar nele a contrapartida alegórica do aniquilamento da forma dramática manifesta nesse drama. A análise aqui empreendida busca equacionar ambas as perspectivas de abordagem, tanto ao evocar o contexto sociopolítico subjacente à composição do texto quanto ao realçar aspectos da peça como a separação entre corpo e voz ou o esvaziamento da ação dramática. Por fim, pretende-se assinalar que os atributos estéticos da peça, responsáveis por distanciá-la de convenções teatrais em vigor na época de sua escrita, contribuem, hoje em dia, para que sua leitura seja muito estimulante no início do século XXI.Palavras-chave: teatro brasileiro; modernismo; drama moderno e contemporâneo; A morta; Oswald de Andrade.Abstract: This paper aims to examine Oswald de Andrade’s role as a playwright, with emphasis on A morta – ato lírico em três quadros (1937). The play ends with a fire, caused by the character of the Poet and whose flames spread throughout the theater. On one hand, it is possible to see in this outcome the explanation of the furtive revolutionary impetus of the work, in which the clash between the working class inspired by Marxist ideas and the employer elite adept of fascist integralism is staged. On the other hand, it is also possible to see in it the allegorical counterpart of the annihilation of the dramatic form manifested in this drama. The analysis undertaken here seeks to equate both perspectives of approach, by evoking the socio-political context underlying the composition of the text and by highlighting aspects of the play such as the separation between body and voice or the emptying of dramatic action. Finally, it is intended to point out that the aesthetic attributes of the play, responsible for distancing it from theatrical conventions in force at the time of its writing, contribute, nowadays, to its very stimulating reading at the beginning of the 21st century.Keywords: Brazilian theater; modernism; modern and contemporary drama; A morta; Oswald de Andrade.
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Choe, Jung-sun. "The Illusion and Reconstruction of Orientalism in M. Butterfly." Convergence English Language & Literature Association 7, no. 3 (December 31, 2022): 327–51. http://dx.doi.org/10.55986/cell.2022.7.3.327.
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David Henry Hwang, a Chinese American writer active in the late 20th century, worked with an interest in Asian-American race issues. One of the important aspects raised by Asian American writers of the time, including Hwang, was to challenge the ‘typicality’ of Asians, which had been created and sustained by western media such as literature, movies, and theater during the 19th and 20th centuries.
Published in 1988, M. Butterfly is based on a true story that is both shocking and moving about the clash of east and west cultures. Hwang wrote this work after reading an article in The New York Times on May 11, 1986 about a spy crime involving a French diplomat. This article was about Bernard Boursicot, a former French diplomat in Beijing who was sentenced for stealing French state secrets to the Chinese government, and Shi Pei-Pu, an actor of the Beijing Opera Company. Interesting about this article was that Shi was a male actor who played a female role professionally, and the diplomat Boursicot claimed that he had no idea that he was a spy or not a woman, even though he had been in love with Shi for 20 years. After reading the article, Hwang concludes that Boursicot must have fallen in love with a typical type of fantasy, not with an individual.
Through this assumption, Hwang connects a westerner who is in the illusion of ‘Butterfly’ with Giacomo Puccini's opera Madame Butterfly(1914) and creates M. Butterfly. This drama begins with a scene in which the main character, Rene Gallimard, recalls his love for Song Liling, a Chinese Beijing opera actor, in a French prison. Song, a spy, instills his presence to Gallimard as a fantastic and typical image of an Asian woman in order to achieve his political purpose. In the end, Gallimard ends his life by learning the truth that his lover was a spy and even a man.
This drama dismantles each thick layer of imperialist cultural and sexual bias. Furthermore it appeals to have a sincere relationship with each other for mutual welfare on an equal basis shared by everyone as a human being. This paper will examine the author's work of rewriting, focusing on the psychology of Gallimard.
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Nurzyńska, Agnieszka. "WANDA CYPRIANA NORWIDA WOBEC TRADYCJI STAROPOLSKIEJ." Colloquia Litteraria 20, no. 1 (February 8, 2017): 229. http://dx.doi.org/10.21697/cl.2016.1.15.
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Cyprian Norwid’s Wanda and the Old-Polish Tradition Norwid as a revolutionary and a visionary who reaches towards the roots of Polish literature and himself adds “only a few words” [“tylko parę słów”]? Such a vision of the poet, thinker, and dramatist emerges from the analysis of the mystery play Wanda; this text was once lost and the author edited it for the second time in 1851. The article focuses on three elements of the text that are crucial for its structure: the subtitle, the dedication, and the motto. The analysis of the subtitle “Rzecz w obrazach sześciu” [Object in six images] reveals a discursive composition of the text that is characteristic of Old-Polish dialogues. Reading of the original “Mogile Wandy” dedication while taking into account the contexts of Sęp-Szarzyński and Kochanowski makes apparent Norwid’s reflection on the mythical time and the sacrum time. The interpretation of the motto, which is taken from a seventeenth-century song by Wespazjan Kochowski, emphasizes spatial and at the same time deeply symbolic and political aspects of Norwid’s drama. The mystery play is supposed to furnish spiritual weapons for the people ‘of the North’ to fight the invaders who partitioned Poland. The cursed soil, thanks to the intercession of Wanda who is experiencing her compassio with Christ, will be reintegrated and will become a Blessed soil anew.
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Satyam Kumar. "William Shakespeare’s Macbeth in Adaptation: A Cultural Materialist Reading of Bollywood Movie Maqbool." Creative Launcher 8, no. 2 (April 30, 2023): 20–27. http://dx.doi.org/10.53032/tcl.2023.8.2.03.
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The present research article focuses on Bollywood movie Maqbool (2004), the Hindi language movie adaptation of Shakespeare’s famous play Macbeth (1606). Shakespeare’s plays have become available in the cinematic adaptations in many different languages across the globe. All these adaptations focus on different aspects of the original texts, and come up with some entirely new movies which at times have the Shakespearean elements in them. The plots, settings and the timelines are of course different, but they make Shakespeare’s dramas available to a wider audience across different cultures. Maqbool is such a movie adaptation in Hindi, directed by Indian film-director, Vishal Bhardwaj. The movie relates to the incidents and events from Shakespeare’s play Macbeth, though it has entirely new flavours of its own as a typical Bollywood movie. Like Shakespeare’s plays, these movies also have something to offer to the critics. A close analysis of such adaptations, in relation to the original textual creations, can bring forth many new critical perspectives. This article aims at analysing the movie, Maqbool from the perspective of cultural materialism where it tries to bring out that how the movie interrelates with the contemporary social and political situations of the time which it depicts. There are certain hidden structures in the movie which remain unearthed when watched without critical eyes. The paper attempts a cultural materialist reading of Maqbool to bring out such hidden aspects of the movie.
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Panos, Leah. "Realism and Politics in Alienated Space: Trevor Griffiths's Plays of the 1970s in the Television Studio." New Theatre Quarterly 26, no. 3 (August 2010): 273–86. http://dx.doi.org/10.1017/s0266464x10000461.
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The television studio play is often perceived as a somewhat compromised, problematic mode in which spatial and technological constraints inhibit the signifying and aesthetic capacity of dramatic texts. Leah Panos examines the function of the studio in the 1970s television dramas of socialist playwright Trevor Griffiths, and argues that the established verbal and visual conventions of the studio play, in its confined and ‘alienated’ space, connect with and reinforce various aspects of Griffiths's particular approach and agenda. As well as suggesting ways in which the idealist, theoretical focus of the intellectual New Left is reflexively replicated within the studio, Panos explores how the ‘intimate’ visual language of the television studio allows Griffiths to create a ‘humanized’ Marxist discourse through which he examines dialectically his dramatic characters' experiences, ideas, morality, and political objectives. Leah Panos recently completed her doctoral thesis, ‘Dramatizing New Left Contradictions: Television Texts of Ken Loach, Jim Allen, and Trevor Griffiths’, at the University of Reading and is now a Postdoctoral Researcher on the AHRC funded project, ‘Spaces of Television: Production, Site and Style’, which runs from July 2010 to March 2014.
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Ford, David F. "Reading Backwards, Reading Forwards, and Abiding: Reading John in the Spirit Now." Journal of Theological Interpretation 11, no. 1 (April 1, 2017): 69–84. http://dx.doi.org/10.5325/jtheointe.11.1.0069.
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ABSTRACT The figural reading approach of Richard Hays can be developed further in various ways through consideration of the Gospel of John. The narrative focus can be broadened to encompass other aspects of the analogical imagination. As all four Gospels, in Hays's reading, take up and transform Israel's Scriptures, so the Gospel of John can be read as taking up and transforming the Synoptic Gospels, with John learning from a culture of creative rewriting. John's own rewriting encourages readers to improvise in thought and action on what he writes. This “reading forwards” takes up what Hays calls “reading backwards” into the ongoing drama of following Jesus in the Spirit. John's temporality reaches beyond linearity by integrating the eternal life of God, and human participation in that, with the incarnate drama of learning and loving in history.
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Pretty Terangpi. "Subverting Androcentrism and Voicing the Silenced in Kavita Kane's The Lanka's Princess." Creative Launcher 5, no. 6 (February 28, 2021): 86–92. http://dx.doi.org/10.53032/tcl.2021.5.6.12.
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The retelecast of Ramayana is presumed to have garnered the record as one of the most viewed television series with about 7.7 million viewers worldwide. Mythologies in India are closely intertwined with the socio-cultural aspects of the people, dictating the way the society functions. Such a massive reception of the mythsafter years of their origin only reiteratesthe significance and influence of mythologies even today. The retelling of mythologies is not a current phenomenon, as evident in the presence of the different versionsof Ramayana and Mahabharata.From films, dramas to television series, the two narratives have provided the blueprint for artists from all fields to explore and re-imagine them.The most significant change, however, occurred in recent times with the emergence of the often marginalized section revisiting the two grand narratives, the most prominent being Feminists and Dalits, and give space tothe often marginalized characters that are assigned the role of the 'other.' Writing and Reading are often considered political. The meaning-making process and what is being told or what is omitted is governed by the hegemonic control of the one in power. Mythology is typically considered as the avenuefor Men. Women represented in the epics hardly play a significant role. The omission of the voice of the women like Supernekha, Draupadi, Mandodari, Sita, Urmillafrom the grand narratives becomes all the more vivid as they representthe voice of the sidelined or marginalized. The right to form history belongs to the one ruling. In this case, it is the patriarchal setup that allows only for the androcentric viewpoint in the process relegating all the other possible views. In this vein, using an overarching lens of Feminism, the paperattempts to see Kavita Kane's The Lanka's Princess, from the viewpoint of the often voicelesscharacters to dismantle the binary structureand subvert Androcentrism.
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Adamczak, Katarzyna. "Postcatastrophic Re-Reading of Tadeusz Hołuj’s Puste pole." Poznańskie Studia Slawistyczne, no. 12 (September 21, 2017): 17–28. http://dx.doi.org/10.14746/pss.2017.12.1.
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This article deals with the re-interpretation of Tadeusz Hołuj’s drama Puste pole (1963; The Empty Field) and its theatrical staging by Józef Szajna in 1965. Based on the drama I want to demonstrate how the artists – who were both survivors of the concentration camp in Auschwitz – managed re-presenting the Holocaust despite the political situation and the accompanying anti-Semitic government campaign in Poland in the 1960s. The reception of the drama of then and nowadays shows how that re-presentation was once interpreted due to the political circumstances, which made the issue of the Holocaust and the Jews bannend from public life, language, and memory. Finally I explore how Hołuj’s drama can be read today when we approach it via postcatastophic re-reading determined by after-knowledge, retrospection, and retroactivity.
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Bissiri, Amadou. "Aspects of Africanness in August Wilson's Drama: Reading The Piano Lesson Through Wole Soyinka's Drama." African American Review 30, no. 1 (1996): 99. http://dx.doi.org/10.2307/3042097.
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Aini, Dhea Nur, and M. Ismail Nasution. "Analisis Tokoh, Peran, dan Karakteristik Naskah dalam Drama Monolog Aeng karya Putu Wijaya." Lingua Susastra 2, no. 1 (October 31, 2021): 34–42. http://dx.doi.org/10.24036/ls.v2i1.13.
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This study aims to describe the elements of character, role, and character in Putu Wijaya's monologue drama script. This type of research is qualitative research using descriptive methods. The data in this study are the sentences and utterances of the characters or narrators. The research stages were carried out in the following steps: (1) reading and understanding the drama script of Putu Wijaya's monologue Aeng; (2) literature study related to the matters under study in order to obtain an understanding of the problem to be studied and (3) to take inventory of data. After the data has been collected, it is analyzed using the following steps: (1) classifying the data; (2) interpret data; (3) draw conclusions; and (4) reporting the results of data analysis. Based on the results of data analysis, it can be concluded, namely: (1) the characters in the monologue drama script of Aeng by Putu Wijaya, the characters contained in this monologue drama script are Alimin, Nensi, Hakim, Bapak, Karpo, Ibu, and Bastard; Besides that, it is also found the role of characters in the drama script of Aeng's monologue by Putu Wijaya about the roles of lion, mars, sun, earth, scale, and moon; (2) the character of a character can be seen based on three aspects, namely physiological aspects, sociological aspects and psychological aspects.
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Atrinawati, Atrinawati. "Semiotic Elements on William Shakespeare’s Hamlet Prince of Denmark." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 2, no. 2 (May 24, 2018): 9–13. http://dx.doi.org/10.14710/culturalistics.v2i2.2498.
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ABSTRACTThis article analysis Hamlet Prince of Denmark, a tragic drama written by William Shakespeare. The purpose of this study is to finding out basic narrative scheme, prime signifier and paradigmatic and syntagmatic aspects of the drama. The approaches that I used is semiotics and close reading. The result shows that the narration centered on a binary opposition, hesitated revenge being the prime signifier, and paradigmatic and syntagmatic revealed details of the signals. Based on the analyses, William Shakespeare’s Hamlet Prince of Denmark contain prime signifier Keywords: semiotic; signifier; paradigmatic; syntagmatic.
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Uzzaman, Sharif. "Underlying Aspects in Tagore’s Translation Of Red Oleanders: A Critical Reading." Journal of Critical Studies in Language and Literature 2, no. 4 (May 16, 2021): 20–26. http://dx.doi.org/10.46809/jcsll.v2i4.74.
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Though Rabindranath Tagore’s works have been studied and praised for decades around the world, his struggles to reconcile cultural as well as linguistic differences between English and his native tongue, Bengali through translations of his works have largely been overlooked. This paper though a comparative study between Tagore’s drama Raktakarabi and its translated version Red Oleanders, seeks to find out how Tagore deals with various cultural, literary and linguistic issues that have arisen during the translation and whether the differences between two languages with distinct natures and unique histories have forced him to make fundamental changes to the play. The research also aims to critically look at the reasons behind Red Oleanders’ apparent failure in the west and takes into account relevant translation theories to discuss how various changes to the play have contributed to creating stark contrasts between the original and the translation.
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Amanat, Tri. "JEJAK PUISI RENDRA DALAM NASKAH DRAMA: KAJIAN RESEPSI SASTRA DAN INTERTEKTUALITAS." JENTERA: Jurnal Kajian Sastra 7, no. 1 (June 30, 2018): 83. http://dx.doi.org/10.26499/jentera.v7i1.602.
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Abstrak: Penelitian ini bertujuan menemukan hubungan antara naskah drama Suto Mencari Bapak karya M. Ulil Albab dan Nasrudin Yusuf Reza dengan puisi karya W.S. Rendra “Mencari Bapak” dan bagaimana bentuk hubungannya. Masalah penelitian ini terkait dengan reaksi pembaca setelah membaca sebuah karya yang mengkonkretkan tanggapan mereka dalam bentuk sebuah karya baru. Melalui pendekatan resepsi sastra dan intertektualitas, penelitian ini berusaha menemukan hubungan dan bentuk hubungan antara kedua karya sastra dengan membandingkan elemen-elemennya. Pengumpulan data dilakukan dengan teknik pembacaan dan pencatatan yang kemudian dianalisis dengan teknik komparatif-induktif, kategorisasi, dan inferensi. Hasil penelitian menunjukkan bahwa naskah drama Suto Mencari Bapak merupakan teks konkretisasi hasil resepsi pembaca puisi “Mencari Bapak”. Dalam prosesnya, elemen-elemen yang diresepsi mengalami pengolahan sedemikian rupa berdasarkan horison harapan dan gudang pengalaman pembaca dengan memanfaatkan ruang-ruang terbuka yang terdapat dalam teks puisi. Resepsi produktif elemen-elemen puisi di dalam naskah drama meliputi aspek person, aspek peristiwa, aspek latar, dan aspek tematik. Adapun model resepsi yang ditemukan ada dua. Pertama, model afirmatif dengan varian peminjaman pada sebagian aspek person, peristiwa, dan latar. Kedua, model ekspansi dengan varian penggantian pada sebagian aspek person, peristiwa, dan latar. Varian penggeseran pada sebagian aspek person, peristiwa, latar, dan tematik. Varian penggabungan pada sebagian aspek person. Varian pemadatan pada sebagian aspek person dan peristiwa. Abstract: This study aims to find the relationship between the drama script of Suto Mencari Bapak creating by M. Ulil Albab and nasrudin Yusuf Reza with W.S. Rendra’s poem Mencari Bapak and how it relates. This research problem is related about the reader's reaction after reading a work that concretizes their response in the form of a new work. Through the approach of literary receptions and intertextuality research attempts to find the relationship and form of relationship between the two works of literature by comparing its elements. The data were collected by reading and recording which were then analyzed by comparative-inductive, categorization, and inference techniques. The results show that the play script is a concrete text of the receptive reader results of poetry Mencari Bapak. In the process the perceived elements undergo processing in such a way based on the horizon of expectation and the repertoire of the reader's by utilizing the Indeterminate Sections in the poem. The productive receptions of the poetry elements in the drama include personality aspects, event aspects, background aspects, and thematic aspects. While the recipe model found there are two. First, the affirmative model with the borrowing variant on some aspects of person, event, and background. Second, the expansion model with replacement variants on some aspects of person, event, and background. Variants shift in some aspects of person, event, background, and thematic. Variant of combining on some aspects of person. Variant compaction on some aspects of person and event.
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Colvin, Sarah. "THE POWER IN THE TEXT: READING WOMEN WRITING DRAMA." German Life and Letters 50, no. 4 (October 1997): 445–59. http://dx.doi.org/10.1111/j.1468-0483.1997.tb01704.x.
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Ahmad Rind, Dr Ayaz, Hafiz Muhammad Fiaz, and Shams Zoha Ali. "URDU-20 The Beginning of Saraiki Drama." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 3 (October 24, 2021): 219–28. http://dx.doi.org/10.53575/urdu.v5.03(21).219-228.
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Primarily the paper deals with the beginning, origin and evolution of Saraiki Drama. Drama is one of the important tools of expression in the society and it reflects the socio-cultural and political aspects of the society since from the earlier time of the human history. The term drama started from the ancient Greece and it travelled in the entire world. It highlights the different social aspects humanity through a practical role rather than theoretical point of view. In this area of Indus civilization Drama started with the settlement of Ariyans. Saraiki Drama is also an old tradition and we find it here as other area of the humanity. This research explores and highlights the as the above mention topic Saraiki Drama its origin and evolution in different periods.
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Rivero, Carmen. "»Lope, Réactionnaire ou révolutionnaire?«." Volume 60 · 2019 60, no. 1 (November 14, 2019): 227–41. http://dx.doi.org/10.3790/ljb.60.1.227.
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By reading Fuenteovejuna in the light of both Spanish and European (especially the French) political discourse, this study presents a contribution to the debate on the alleged reactionary or revolutionary character of the drama.
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Adhikari, Bishwo Raj. "Sexual Games of Power and Status in Edward Albee’s Who’s Afraid of Virginia Woolf ?" Janapriya Journal of Interdisciplinary Studies 11, no. 1 (December 31, 2022): 1–9. http://dx.doi.org/10.3126/jjis.v11i1.53905.
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This article explores the use of sexuality as a tool to achieve power and status by the characters in Edward Albee's drama Who's Afraid of Virginia Woolf? In this drama, the characters ignore the values of marriage, love, and sex in order to dominate others or control the situation for their intended goal. Reading Michel Foucault's discursive nature of power based on his work The History of Sexuality, Vol. 1: An Introduction, this study has justified the characters use of trivial sexual games and their motives to obtain power and status in a highly intellectual society. The characters of Albee's drama are prone to exercise power using their own sexuality. Negotiating and subverting the roles of gender and sexuality in private/public sexual games, they frequently foreground to fulfill personal desire in the existing social milieu. To unveil these aspects, this article has interpreted Albee’s drama with the theoretical dimension of power and sexuality postulated by Foucault, and has applied the content analysis method.
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Imron A.M., Ali, and Farida Nugrahani. "STRENGTHENING PLURALISM IN LITERATURE LEARNING FOR CHARACTER EDUCATION OF SCHOOL STUDENTS." Humanities & Social Sciences Reviews 7, no. 3 (April 22, 2019): 207–13. http://dx.doi.org/10.18510/hssr.2019.7332.
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Purpose: The purpose of this study is to describe the aspects of pluralism in literature as a portrait of socio-cultural society and to describe the aspects of pluralism as a literary material for character education, in particular, the affirmation of student nationalism.
Methodology: This research uses the descriptive qualitative method. Data source are literary works containing pluralism dimensions in poetry, fiction, and drama genres. Data collection through library study techniques and in-depth interviewing and Focus Group Discussion. Data analysis is done by reading the method of the semiotic model including heuristic reading (language level) and hermeneutic reading (interpretation level of meaning).
Results: Result of research and discussion are the aspect of pluralism in literature is a portrait of socio-cultural condition of diversity at society and the aspects of pluralism can be stressing as a literary material for character education, especially the affirmation of nationalism of school students.
Implications: Thus, pluralism literature is a literature that expresses the notions of diversity that reflect the real portrait of the Indonesian nation.
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Dian Nugraheni, Ulfi Akhyatussyifa, Vianni Nifattien Vrisna Putri, Putri Dzakiyyatul Khotimah, Nida Rufaida, Asep Purwo Yudi Utomo, and Zulfa Fahmy. "Analisis Tindak Tutur Ilokusi pada Teks Drama dalam Buku Bahasa Indonesia Kelas VIII Kurikulum 2013." Morfologi: Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya 2, no. 1 (January 8, 2024): 155–71. http://dx.doi.org/10.61132/morfologi.v2i1.299.
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This article examines drama texts that focus on pragmatic aspects, namely illocutionary speech acts. The texts studied are drama texts listed in the Indonesian Language Book Class VIII Curriculum 2013. The background of this article is based on the diversity of the application of illocutionary speech acts in the drama text. The purpose of this article is to analyze illocutionary speech acts in drama texts. The method used in this research uses a methodological approach, namely descriptive qualitative, and a theoretical approach, namely pragmatics. The data of this article consists of a group of sentences that form a paragraph taken from the drama text in the Indonesian Language Book Class VIII Curriculum 2013 and studied commensurate with the classification of illocutionary speech acts. The data source comes from the drama text in the Indonesian Language Book Class VIII Curriculum 2013. The techniques used are note-taking techniques and listening techniques or reading data which are data collection techniques. The data analysis technique in the research uses agih and padan techniques. Data presentation techniques with informal techniques. From the existing data, the conclusion is that there are several forms of speech acts in the drama text, namely: representative/assertive, expressive, commissive, directive, and declarative illocutionary speech acts contained in the drama text. This article has benefits for students because it can provide knowledge about the classification of illocutionary speech acts.
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Shorna, Sadia Afrin, and Iffat Jahan Suchona. "Incorporating Drama in English Language Teaching: A Case Study at a Private University in Bangladesh." International Journal of Research and Innovation in Social Science VII, no. IX (2023): 1284–90. http://dx.doi.org/10.47772/ijriss.2023.71008.
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Drama is a unique way to make learning more enjoyable, conversational, and relevant to the real world. Integrating a drama-based approach into the language classroom has the potential to improve listening, speaking, reading, and writing skills, as well as presentation abilities in a varied manner. This study analyzes the advantages of incorporating drama techniques into teaching English language among tertiary level learners. It also focuses on the strategies for developing a learner-centered classroom to improve the communication abilities of second language learners. 11 students in their second year of English Language and Literature at the University of Asia Pacific in Dhaka, Bangladesh, were the participants of this case study. The study is conducted using qualitative research methodology. According to this study, drama-based English instruction has a positive impact on all aspects of growth—physical, emotional, social, and cognitive. It illuminates the strategy of placing students in authentic settings in order to help them uncover their latent creativity and overcome their anxieties. In addition, this drama-based approach is beneficial for learners to foster their sense of collaboration, conversation, negotiation, and performance.
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Binder, Werner. "The drama of politics." Thesis Eleven 142, no. 1 (September 3, 2017): 112–29. http://dx.doi.org/10.1177/0725513617727904.
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The concept of social performance is a major theoretical innovation of the strong program in cultural sociology, championed by Jeffrey C. Alexander. This article offers a critical assessment of Alexander’s last four monographs on political performances with the explicit aim of contributing to the future development of the performance approach. After an outline of Alexander’s theory of performance, I continue to discuss his book-length empirical contributions, highlighting the innovations introduced by each study. Confronting Alexander’s research strategies with his theoretical framework, I propose a recalibration of his ‘liberal’ sociology of performance, bringing ‘conservative’ aspects of political culture back in, first of all particularity and historicity. This entails a rethinking of performance effects in terms of ‘resonances’ attuned to particular audiences and a deeper hermeneutic engagement with specific historical backgrounds of collective representations in order to overcome the one-sidedness of Alexander’s constructivist approach.
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Steveker, Lena. "The Politics of Happiness in Richard Brome’s The Queen and Concubine." Critical Survey 32, no. 3 (September 1, 2020): 70–81. http://dx.doi.org/10.3167/cs.2020.320307.
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In this article, I discuss Richard Brome’s tragicomedy The Queen and Concubine (1635–1636), focusing on how the play reflects the iconography of Charles I as well as Stuart ideals of statecraft. I argue that the play’s representation of a royal ruler in a pastoral setting draws on Van Dyck’s portraiture and on Charles I’s masques, as well as on Lipsius’s political concept of ‘love’. I claim that the play promotes a ‘politics of happiness’ which affirms the Caroline ideology of royal rule. My reading of Brome’s play aims at furthering the critical understanding of the cultural and political concerns shared by court drama and drama written for the commercial theatre in the Caroline period.
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Kim, Mun-hee. "Effect and meaning of knowledge application of classical novel in the story-telling of 『The Red Sleeve』." Research of the Korean Classic 58 (August 31, 2022): 153–89. http://dx.doi.org/10.20516/classic.2022.58.153.
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The purpose of this study is to discuss the aspects of knowledge application of classical novel and its effect and meaning in 『The Red Sleeve』. 『The Red Sleeve』 is a representative work of cross-media story telling which is adapted for webtoon and drama after it is created as a novel. The story-telling in 『The Red Sleeve』 commonly uses a enjoyment formula of classical novel through Jeon-gi-soo(傳奇叟). It also actively uses joint transcription by court lady, reading aspects of classical novel and way of classical novel circulation through Se-chaek-jeom(貰冊店). It reveals introduction, assessment and awareness about classical novel as well.
Three effects and meanings are revealed by using introduction, assessment and awareness about classical novel which are realized by the way of enjoyment, production and reading aspect and circulation method of classical novel. In terms of character composition, it reveals the effect of creating intellectual mentality and independent personality of heroin. It is common effects in novel, webtoon and drama. It reveals the effects of building and resolving tension and creating interest by making laughter in respect of framework of events. It is a effect which is created while being converted to drama and webtoon. In terms of appreciation from reader and viewer, it reveals the effect that makes the reader and viewer cultivate knowledge and refinement about classics and traditional culture.
In order to help create successful contents like 『The Red Sleeve』 accurate and easily accessible material about classical novel should be provided. It can be a duty of classical novel researcher to provide relevant material about classical novel which is easily accessible to writer, contents creator and the public.
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Mullen, Mary L. "Untimely Development, Ugly History:A Drama in Muslinand the Rejection of National-Historical Time." Victoriographies 3, no. 2 (November 2013): 161–83. http://dx.doi.org/10.3366/vic.2013.0130.
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This article considers the politics and aesthetics of the colonial Bildungsroman by reading George Moore's often-overlooked novel A Drama in Muslin (1886). It argues that the colonial Bildungsroman does not simply register difference from the metropolitan novel of development or express tension between the core and periphery, as Jed Esty suggests, but rather can imagine a heterogeneous historical time that does not find its end in the nation-state. A Drama in Muslin combines naturalist and realist modes, and moves between Ireland and England to construct a form of untimely development that emphasises political processes (dissent, negotiation) rather than political forms (the state, the nation). Ultimately, the messy, discordant history represented in the novel shows the political potential of anachronism as it celebrates the untimeliness of everyday life.
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Crewe, Jonathan V. "The Violence of Drama: Towards a Reading of the Senecan Phaedra." boundary 2 17, no. 3 (1990): 95. http://dx.doi.org/10.2307/303373.
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Petrová, Zuzana. "Medium-specific aspects of digital reading and their impact on reading comprehension." Human Affairs 32, no. 2 (April 1, 2022): 134–44. http://dx.doi.org/10.1515/humaff-2022-0011.
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Abstract The paper analyses empirical research results comparing the impact of the medium (traditional, paper-based vs. screen-based) on the reading process and text comprehension. It focuses on two analytical approaches—the first looks at the construction of cognitive maps of texts and the other the material aspects of the medium – which enable readers to orientate themselves and to explore and interpret the text more comprehensively. The paper discusses differences in how readers approach textual meaning according to experience of using digital technologies, the text, and reader experience and abilities. It concludes by arguing that strengthening these individual experiences and abilities is key to effective inference of textual meaning.
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Drozd, David. "Dramaturgy of "Hamlet"(s) in Czech Theatre between 2000 and 2023." Multicultural Shakespeare: Translation, Appropriation and Performance 28, no. 43 (December 30, 2023): 177–92. http://dx.doi.org/10.18778/2083-8530.28.09.
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The paper focuses on five Czech productions of Hamlet that attracted the most critical and public attention between 2000 and 2023. Namely, the productions directed by Miroslav Krobot (2006), Jan Mikulášek (2009), Daniela Špinar (2013), Michal Dočekal (2021) and finally the most recent version by Jakub Čermák (2022). All five performances could be seen as contemporary reinterpretations of a classical text using a (post-)modern stylistic approach, as examples of post-millennium Hamlets. The paper discusses dramaturgical choices (such as the conceptualisation of the ghost, the mousetrap scene, or the character of Fortinbras) in order to identify and analyse possibilities for interpreting Hamlet as a political drama in the context of Czech performance tradition and the current political situation. The results show that performances generally present variations of Hamlet as a family drama, foregrounding different issues of memory and body, while the political reading is obsolete.
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Fernández, Esther. "Laurencia Then and Now: A Transhistorical Reading of Lope de Vega’s Fuenteovejuna." Letras Femeninas 43, no. 1 (May 1, 2017): 17–27. http://dx.doi.org/10.14321/letrfeme.43.1.0017.
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Abstract Among the many recent adaptations of Lope de Vega’s Fuenteovejuna that feature a modern sociopolitical reading of the play, Eugenia Cano Puga’s Laurencia stands out for the way in which it manages to distil the essence of Lope’s collective protagonist and transfer it to a single female leading character. By staging the basic story of Lope’s Early Modern drama to the Ciudad Juárez of the femicides, the article argues, Cano gives new relevance to Lope’s drama of a people who stand united against an unjust political system. Additionally, Laurencia masterfully reflects the complicity of local and global forces in failing to address the magnitude of violence against women. This article examines the dramatic and performative processes deployed by the playwright/director as she maintains the moral relevance of Fuenteovejuna while contemporizing its characters and its plot and highlighting the global responsibility for addressing the pervasive victimization of women.
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Каспіч, Галина, and Ніна Поляруш. "Valerii Herasymchuk’s biographical drama: culturological intertextuality." Українська література: історичний досвід і перспективи, no. 1 (December 18, 2023): 88–101. http://dx.doi.org/10.31652/3041-1084-2023-1-88-101.
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The article is devoted to a voluminous biographical dramas Valerii Herasymchuk — the cycle «Piesy pro velykyh (Plays about the Great)». It is not yet fully formed, as the author is still adding works to this day, so it is required careful reading. A professional analysis of the writer’s biographical drama in the context of the intertextual methodology of modern literary studies seems appropriate.It is noted that Valerii Herasymchuk created his own system of relationships to the biographies and works of each of his protagonists, practicing new genre experiments and updating the already known forms of literary biography in relation to the cycle «Piesy pro velykyh (Plays about the Great)».Analysis of literary works devoted to contemporary biographical drama allows us to conclude that researchers of its various aspects often ignore the dramatic works of Valerii Herasymchuk as quite difficult for literary reception. At the center of each drama in the cycle «Piesy pro velykyh (Plays about the Great)» is a prominent historical or cultural figure: Metropolitan Andrii Sheptytsky, writer and film director Oleksandr Dovzhenko, historian and fiction writer Dmytro Yavornytskyi, Hetman Ivan Mazepa, poet Olena Teliha, fighter for Ukraine Stepan Bandera, classics of Ukrainian modern literature Ivan Franko and Lesia Ukrainka, singer Kvitka Cisyk, and outstanding Ukrainian director Les Kurbas.These plays can refer to different models and kinds of biographical drama, which is a distinctive feature of contemporary Ukrainian drama. As a playwright, Valerii Herasymchuk creates one of the directions of its development. His biographical drama organically combines dominant tendencies tied to the broadest cultural intertext. Valerii Herasymchuk’s innovation is the involvement of dramatic genres in the system of motifs and characters of plays, when the cultural intertext in the dramatic discourseworks at one of the deepest levels — the genre level.Herasymchuk’s biographical drama, represented by the cycle «Piesy pro velykyh (Plays about the Great)», is distinguished by «biographical trust», brave genre experimentation, and different strategies of prose, fiction, philosophical and literary reflections. Summarizing all of the above, Valerii Herasymchuk’s biographical drama is a promising material for literary analysis and generalization.
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Judd, Ellen R. "Dramatic Conflict: Between State and Market in the Cultural Production of Theatre in Rural China." Culture 16, no. 2 (November 23, 2021): 65–83. http://dx.doi.org/10.7202/1083957ar.
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"Dramatic Conflict" explores contemporary changes in the conditions of production of Chinese drama by focusing on the relation between state and market orientations at the core of the creative practice of state drama troupes. The article does so through utilizing the work of Bourdieu on fields of cultural production. The data are derived from fieldwork with state drama troupes on tour in the countryside in Fujian province in 1993 and 1994. Attention is given to the political economy of the organization of state drama troupes and their commercialized conditions of performance for rural communities, and also to the repertoire and ritual aspects of rural performance. The article argues that grounded state power remains central to the practice of dramatic production in China, but operates through market relations inserted into the heart of cultural production by state cultural policy.
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Richards, Shaun. "‘A Question of Location’: Theatrical Space and Political Choice in The Plough and the Stars." Theatre Research International 15, no. 1 (1990): 28–41. http://dx.doi.org/10.1017/s0307883300009500.
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Space is the essence of theatre, for while we may have theatre without text we can have none without space. This, however, is only to refer to the architectonic space itself, while the problematic concern is not with the space in which we have theatre, but with the space from which the dynamic of the drama itself is derived, particularly as it is located in the analysable dramatic text. This, of course, leads to the contentious question as to whether text or performance has primacy in determining understanding; an issue dismissed by Jiři Veltruský as ‘perfectly futile’ as, in his view, ‘Drama is a work of literature in its own right; it does not need anything but simple reading to enter the consciousness of the public.’ While Veltruský locates the essence of drama in the dialogue, and so argues for ‘Dramatic Literature’, he does acknowledge the dimension of performance in a highly significant qualification to the self-sufficiency of the text: ‘Consequently, the individual arts in their turn influence the development of dramatic literature through the intermediary of theatre. Indeed, when he writes a play, the dramatist is not unaware of the existing theatrical structure and of the various openings it presents to new developments. This is true even though the play is a self-sufficient work of literature which does not necessarily require theatrical performance; the creating subject usually feels, though often unconsciously, the possible applications of his work.’
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Engelstad, Audun. "Watching Politics." Nordicom Review 29, no. 2 (November 1, 2008): 309–24. http://dx.doi.org/10.1515/nor-2017-0193.
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Abstract What can fictional television drama tell us about politics? Are political events foremost related to the personal crises and victories of the on-screen characters, or can the events reveal some insights about the decision-making process itself? Much of the writing on popular culture sees the representation of politics in film and television as predominately concerned with how political aspects are played out on an individual level. Yet the critical interest in the successful television series The West Wing praises how the series gives insights into a wide range of political issues, and its depiction of the daily work of the presidential staff. The present article discusses ways of representing (fictional) political events and political issues in serialized television drama, as found in The West Wing, At the King’s Table and The Crown Princess.
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Walters, Ncham Yong, and ih Beh Emmerencia. "THE PARADOX OF SERVITUDE: A SOCIO-POLITICAL READING OF EMEKA NWABUEZE’S A PARLIAMENT OF VULTURES." UED Journal of Social Sciences, Humanities and Education 11, no. 1 (June 21, 2021): 56–62. http://dx.doi.org/10.47393/jshe.v11i1.951.
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This paper seeks to illustrate that African politicians are not motivated by the call to serve, but are rather interested in amassing wealth, power and positions for themselves. Patterns of bad governance which have sunk into the marrow of political vultures causing countries to wallow in socio-political and economic degradation are equally identified. The paper further contends that the socio-political perspective can be transformed if the masses choose to rise against “political vultures” who desecrate the servant-leadership policy. Consequently, this paper advocates a servant-leadership approach as a major prerequisite for leadership scramble for the socio-political and economic buoyancy of the society. Adopting contextual analysis as its analytical standpoint, the paper, through the lens of servant-leadership theory, elaborates the fact that A Parliament of Vultures exhibits common realities in Nigeria’s political landscape as well as the projection of drama as a channel of raising awareness and conscientizing the people, hence, the place of theatre of conscientization in Nigerian dramaturgy.
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Drake, Drake. "Natural and Divine orders: The Politics of Sophocles’ Philoctetes." Polis: The Journal for Ancient Greek Political Thought 24, no. 2 (2007): 179–92. http://dx.doi.org/10.1163/20512996-90000113.
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A closer look at the character of Odysseus in the opening passages of the Philoctetes reveals a more nuanced psychology of guilt and justification than commentators have thus far appreciated in the cunning hero’s role. This paper examines the relations of sympathy (oiktos) between Odysseus, Neoptolemus, and Philoctetes as a way of entering into the complicated political drama of the work. Conceiving politics in the Philoctetes as a hybrid construction of the demands of nature (including the phenomenon of sympathy) and the demands of the gods, this study provides a reading of Sophocles’ play as an observation of the necessity for political regimes to efface the very conditions of sympathy that made them possible in the first place. On this reading, Sophocles’ tragedy is to be seen as an explorarion of the damage incurred by individuals when such effacement takes place.
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Urban, Eva. "Reification and Modern Drama: an Analysis, a Critique, and a Manifesto." New Theatre Quarterly 32, no. 3 (June 30, 2016): 256–68. http://dx.doi.org/10.1017/s0266464x16000233.
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Drawing on a close reading of Theodor Adorno's essay, ‘Education after Auschwitz’, in this article Eva Urban develops the argument that an analysis of the reification that reduces human relationships to mere business interactions has been a central concern of modern drama. The article offers an analysis of some of the ways in which this theme continues to be represented, interrogated, and challenged internationally in contemporary political plays and theatre performances across a range of genres and grounded in a variety of dramaturgical principles. It asks how drama, theatre-making, theatre-spectating, and theatre-participating can create dynamics necessary to enable a move from reified consciousness towards the development of critical autonomy and solidarity. A negotiation of the principles of critical consciousness and solidarity is problematic within economic structures that cause social, ethnic, and religious atomization and divisions. Her argument concludes with an outline for a manifesto for political drama and theatre practice to work against reification. Eva Urban is a lecturer and researcher in the English Department and an Associate of the Irish Studies Research Centre, CEI/CRBC, at the University of Rennes 2, France. She recently completed a British Academy Postdoctoral Fellowship at the University of Cambridge and is a Life Member of Clare Hall, Cambridge. The author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011), she has also published articles in New Theatre Quarterly, Etudes Irlandaises, Caleidoscopio, and edited book collections.
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Rosidi, Imron, Masduki Masduki, and Dony Arung Triantoro. "NILAI-NILAI ISLAM DALAM DRAMA KOREA PERSPEKTIF ANAK MUDA MUSLIM PEKANBARU." Jurnal Dakwah Risalah 30, no. 2 (December 31, 2019): 215. http://dx.doi.org/10.24014/jdr.v30i2.8492.
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This article describes one of the effects of globalization on young Muslims in Indonesia. This article argues that the emergence of globalization has provided opportunities for young Muslims to take 'Islamic' values from the non-Arab world, not solely from the center of Islam (Muslim Arab countries). The purpose of this study is to find out how Pekanbaru Muslim Youth take Islamic values contained in Korean drama. This research uses ethnographic methods, by identifying informants namely young Muslim Muslims who are pious from Islamic educational backgrounds and like Korean television dramas. They have a good understanding of Islam so that in daily life they used to do the obligatory prayers five times a day and fasting is obligatory in the holy month of Ramadan. Even some of them do the teachings of Islam that are sunnah such as reading the Qur'an, sunnah prayers in congregation in the mosque and others. This article found that Korean television dramas encourage Muslim young people to negotiate Islamic values displayed in Korean television dramas. The results of this study reveal some Islamic values such as aspects of hard work, and never give up are often portrayed in television dramas.
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Maidanik, Đurđina Šijaković. "The Powerful and Disturbing Touch." Philotheos 20, no. 2 (2020): 324–39. http://dx.doi.org/10.5840/philotheos202020219.
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This paper proposes a reading of two episodes of Hecuba's supplication in Euripides' drama Hecuba. I am hoping to show that the female protagonist Hecuba, when begging for mercy, uses the ritual potential of the supplication act, while the two male characters secularize the primarily ritual act, with the result of escaping from it. The dramatized rite of supplication can serve for examination of normative engagements in the sphere of religious issues and gender roles, and the relationship between speech and gesture on stage. I am examining some aspects of the supplication rite and analysing chosen sections of the dramatic text, with the goal of mapping them within the coordinates of ritual/secularized, gestures/words, female/male.
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Dalton, Kathleen. "Finding Theodore Roosevelt: A Personal and Political Story." Journal of the Gilded Age and Progressive Era 6, no. 4 (October 2007): 363–84. http://dx.doi.org/10.1017/s1537781400002206.
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A grand man-on-horseback statue of Theodore Roosevelt stands guard at the American Museum of Natural History in New York. Its heroic magnitude should remind historians that cinematic stories about masterful men possessing larger-than-life powers compete quite well in the marketplace of ideas with interpretations that show “great” men as vulnerable and fallible. How could historians ever expect to win popular audiences from the latest opiate of the reading people, books about the dash and drama of great men? Men who dare to perform bold deeds appeal to much larger audiences than most other topics historians consider historically significant. Celebrationist history wins applause; long footnotes do not. In public squares across the globe, the man-on-horseback type evokes nationalism inspired by battles won. People in other countries also lie to themselves about their pasts. Why should it be different here?
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Kevers, Laetitia. "Re-establishing Class Privilege: The Ideological Uses of Middle and Working-Class Female Characters in Downton Abbey." Anglica. An International Journal of English Studies, no. 26/1 (September 11, 2017): 221–34. http://dx.doi.org/10.7311/0860-5734.26.1.14.
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This paper argues that the British period drama Downton Abbey, which aired between 2010 and 2015 and encountered worldwide success, uses working class and middle-class female characters to promote the aristocracy and conservative ideas, while hiding behind historical accuracy and seemingly progressive patterns of behaviour. Through a close reading of four female characters, I will demonstrate how the series’ author, Julian Fellowes, uses the show to endorse his own political agenda, as a Conservative member of the House of Lords in the British Parliament.
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Setio, Robert. "Penguasa, Tuhan, dan Rakyat: Membaca Apokalips Daniel 7 sebagai Subversi." GEMA TEOLOGIKA: Jurnal Teologi Kontekstual dan Filsafat Keilahian 4, no. 2 (October 16, 2019): 211. http://dx.doi.org/10.21460/gema.2019.42.481.
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Because of its cryptic nature apocalypse Daniel 7 has been interpreted in many ways. Often it is linked to the end of time teachings. This kind of interpretation is problematic. First, while emphasizing the dark side of the prophecy, it fails to capture its main intention which is optimism toward the future. Second, apocalypse contains dualistic ideas, but, they are not supposed to be separated, let alone taking one side over the other. Apocalyptic dualism should be treated as an oscillating, always negotiating positions, tensional but creativecollisions. This article shows a reading of apocalypse that reveals dualism as an integrated entity. It also considers theological consequences of such a reading. While being placed within the world’s history, God is deeply involved in worldly drama which consists of tragedy, as well as, comedy. On the political side, this reading demonstrates that imperial history does not run by itself, but, always prones to subversive movements.
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Čukljević, Filip. "Reading Nehamas’s Nietzsche." Symposion 10, no. 1 (2023): 7–29. http://dx.doi.org/10.5840/symposion20231011.
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In this article I shall investigate Alexander Nehamas’s classic interpretation of Friedrich Nietzsche in relation to the idea of self-fashioning. My aim is to dispel certain misconceptions about Nehamas’s Nietzsche and to explore what his vision of life actually involves. First, I shall expose some basic presuppositions about self-fashioning, that have to do with the nature of the self. Then I shall examine the concept of style, which is related to the concept of the self, and what it means to give style to oneself. This endeavour will further expand on the prominently literary model of life espoused by Nehamas’s Nietzsche. We will see that Nietzsche’s (in)famous idea of the eternal return plays a pivotal role within this framework. Afterwards, it will be argued that realizing the idea of self-fashioning is a pluralistic affair, unique to each person. Subsequently, the temporal structure of self-fashioning will be addressed in greater detail, by focusing on two aspects: coming to terms with the past and being open to the future. Finally, the processual nature of this project will be further revealed with the analysis of its slogan ‘become who you are.’
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Marlow, Christopher. "Provincial Shakespeare." Critical Survey 32, no. 4 (December 1, 2020): 36–50. http://dx.doi.org/10.3167/cs.2020.320404.
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With reference to aspects of the career of the twentieth-century actor-manager Donald Wolfit and the use of the concept of provincialism in English criticism, this article argues that idealist and universalist values are repeatedly valorised in order to devalue materialist and what might be called ‘provincial’ interpretations of Shakespeare’s plays. I pay attention to conditions of production of early modern drama in the sixteenth century, and to Wolfit’s Second World War performances of Shakespeare, the reception of which is offered as evidence for the persistence of a critical prejudice against what is understood as provincial marginality. The article concludes with a reading of The Merry Wives of Windsor that argues that the play supports the provincial values that have so often been dismissed by critics.
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Melrose, Susan. "Restaging ‘Theory’ in the Postgraduate Performance Studies Workshop." New Theatre Quarterly 15, no. 1 (February 1999): 39–44. http://dx.doi.org/10.1017/s0266464x0001263x.
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Postgraduate programmes in performance studies are playing an increasingly important role within drama departments in the British university sector, and require that both staff and students confront with greater rigour than at undergraduate level the relationship between theory and practice – more precisely, how that theoretical relationship should and can be related to practical aspects of the programme. Taking her own cue from bedside-reading ranging from Foucault to the latest titles from Routledge to the influential article on ‘Geographies of Learning’ contributed to Theatre Journal in 1993 by Jill Dolan, Susan Melrose here debates the dilemma, and in particular the problems posed to actors by challenging their approach to their work at precisely the moments when they may most need to fall back on old strategies and securities. Susan Melrose recently took up the post of Head of Graduate Studies and Research Development at Rose Bruford College, London. She presented an earlier draft of this article at the SCUDD Conference at the University of Glasgow in March 1998, which was concerned with issues relating to the teaching of theatre and drama studies in the university.
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Atabik and Muhamad Slamet Yahya. "Peran Lingkungan dalam Pembelajaran Bahasa Arab di Kampung Arab Desa Tanjungsari Kecamatan Petanahan Kabupaten Kebumen." Jurnal Penelitian Agama 23, no. 2 (December 1, 2022): 323–41. http://dx.doi.org/10.24090/jpa.v23i2.2022.pp323-341.
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Abstract
Learning Arabic, like learning in general requires several aspects to be able to achieve the learning objectives. Among the aspects that must exist are methods, media, and environment. The purpose of this study was to determine the role of the environment and Arabic learning methods in the Kebumen Arabic Dictionary. The method used is a qualitative method in which the data obtained are sourced from parties directly related to learning Arabic in Kampung Arab Kebumen. Kebumen Arab Village is a real example of an Arabic language education institution that has implemented some of the above aspects effectively. One of the interesting things is that the methods used at each level are made different according to the abilities of the students. For this reason, the results of this study are worthy of being used as examples by other educational institutions, especially those that teach Arabic. Among the methods used in Kampung Arab Kebumen (KAK) are (1) Reading aloud Method (qira'ah murtafi'ah), (2) Tikrar Method (repeating words or sentences), (3) Istima' method (listening to ), (4) Muhadasah method (conversation practice), (5) Insya' method (composing sentences), (6) Question and answer method, (7) Mujlah method (discussion), (8) Singing method, (9) Muhadlarah/khithobah method, (10) Masrahiyyah method (playing drama in Arabic), and (11) Arabic poetry reading method.
Intisari
Pembelajaran bahasa Arab, sebagaimana pembelajaran-pembelajaran secara umum memerlukan beberapa aspek untuk bisa mencapai tujuan pembelajaran. Di antara aspek yang yang harus ada ialah metode, media, dan lingkungan. Tujuan penelitian ini adalah untuk mengetahui peran lingkungan dan metode pembelajaran Bahasa Arab di Kamus Arab Kebumen. Adapun metode yang digunakan adalah metode kualitatif dimana data yang didapat bersumber dari pihak-pihak yang terkait langsung dengan pembelajaran Bahasa Arab di Kampung Arab Kebumen. Kampung Arab Kebumen merupakan contoh real sebuah lembanga pendidikan Bahasa Arab yang sudah menerapkan beberapa aspek di atas dengan efektif. Salah satu yang menarik ialah bahwa metode yang digunakan di masing-masing tingkatan dibuat berbeda menyesuaikan kemempuan peserta didik. Untuk itu lah hasil dari penelitian ini sangat layak untuk dijadikan contoh oleh lembaga-lembaga pendidikan lain, khususnya yang mengajarkan Bahasa Arab. Di antara metode yang digunakan di Kampung Arab Kebumen (KAK) adalah (1) Metode Reading aloud (qira’ah murtafi’ah), (2) Metode Tikrar (mengulang-ulang kata atau kalimat), (3) Metode Istima’ (mendengarkan), (4) Metode Muhadasah (praktek bercakap-cakap), (5) Metode insya' (mengarang kalimat), (6) Metode tanya jawab, (7) Metode Mujadalah (diskusi), (8) Metode bernyanyi, (9) Metode Muhadlarah/ khithobah, (10) Metode Masrahiyyah (bermain drama menggunakan bahasa Arab), dan (11) Metode membaca puisi berbahasa Arab.
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Olaniyan, Modupe Elizabeth. "SYMBOLISM IN THE DRAMA OF JP CLARK AND FEMI OSOFISAN." Imbizo 5, no. 1 (June 23, 2017): 71–81. http://dx.doi.org/10.25159/2078-9785/2831.
Full textAbstract:
The interpretation of literary texts in African drama has become a hazardous task for many readers (especially non-African readers). It is often difficult to go beyond the superficial literal meanings of a text. Readers often take what characters say as what they mean and do and, unfortunately, most dramatists do not usually provide explanatory notes at the end of such texts to aid the readers’ understanding. Hence, the aim of this article is to embark on an analysis of the works of John Pepper Clark and Femi Osofisan (both Nigerian dramatists) to see how they have used symbolism in their plays The Raft and Another Raft respectively to convey meanings other than the surface textual meanings to the readers while trying to reflect the socio-political situation in Nigeria after independence. This will be discussed with a view to enlightening the readers on African dramatic texts about what symbols stand for in African drama, such that when reading African plays, readers will be in a position to appreciate and understand such texts better.
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Adon, Mathias Jebaru, FX Armada Riyanto, Pius Pandor, and Antonius Mangisengi. "Implications of the Drama of Jesus' Passion Story in the Gospel of John for the Ethics of the Political Elite in the Public Sphere." Religious: Jurnal Studi Agama-Agama dan Lintas Budaya 6, no. 2 (August 29, 2022): 231–42. http://dx.doi.org/10.15575/rjsalb.v6i2.16364.
Full textAbstract:
The Church believed that her faith had social relevance. God, who is believed in, is responded to in concrete cultural and political situations. Therefore, the Church is no longer an isolated religious institution but integral to people's life experiences. Currently, the Indonesian nation is not only in a political crisis but also a crisis of political behavior. This crisis is exacerbated because the political elite has no shame in politics. Empirically, it is effortless to find examples of how there is no sense of shame because they have been guilty in society, and most prominently in the attitudes of political elites. It is no secret that many leaders and political elites are guilty of causing various crises, but when appearing in public, they do not show that they are guilty. Thus, this study aims to find the ethical values of the passion story of Jesus based on the Gospel of John. John presents the story of Jesus' passion for showing Jesus' empire as King through His "exaltation" on the Cross. Through this reading, leaders and public officials know and behave as leaders in front of the people. This research is a critical reading of the story of the passion of Jesus so that ethical points are found on how the political elite should act in the public sphere.
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Bar-Yosef, Eitan. "Zionism, Apartheid, Blackface." Representations 123, no. 1 (2013): 117–53. http://dx.doi.org/10.1525/rep.2013.123.1.117.
Full textAbstract:
Numerous theatrical productions in 1950s Israel employed blackface to simulate negritude on the stage. Focusing on Habima’s 1953 production of Lost in the Stars—the musical drama based on Alan Paton’s best-selling novel Cry, the Beloved Country—and reading it in the context of Israel’s involvement in postcolonial black Africa, this essay demonstrates how, by reflecting the slippery nature of Jewish whiteness, blackface performances on the Hebrew stage captured the complex relationship between Zionism and apartheid.