Relevant bibliographies by topics / Rich people – drama

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Rich people – drama'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Rich people – drama"

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Nasir, Muhammad Saeed, Muhammad Riaz, and Barirah Nazir. "The Representation of Social Reality in Saraiki Dramas Roshan Zameer and Qatil e Hamsheer." Global Language Review VI, no. I (March 30, 2021): 186–96. http://dx.doi.org/10.31703/glr.2021(vi-i).20.

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The Genre of Drama had always been reflective of social life. The history of drama is as old as of humans on earth. Saraiki drama is believed to be developed from undeveloped but organized expressions of caricatures; such kind of organized caricature is found still in the local area. It is a tradition that people of the lower caste named Bhaands. This kind of art was established by the people who were very poor, and they used to caricature the rich and gentry to amuse them and other people. The present study is aimed to trace the social realities and their representation in Saraiki Drama. Two Saraiki dramas Roshan Zameer and Qatil e Hamsheer had been analyzed in light of the Qualitative Content Analysis model proposed by Altheide(1996). It has been found that selected Saraiki dramas speak the prevailing ideological, social realities. It is suggested that more studies should be conducted to explore tradition and social realities existing in the Saraiki region so that regional social and cultural traditions may get a voice in international literary landscapes.
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Cong, Wenjun. "The educational function of drama culture and its embedded strategy in higher education." Lifelong Education 8, no. 2 (April 1, 2020): 47. http://dx.doi.org/10.18282/le.v8i2.795.

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<p>As a comprehensive art, campus drama has an extremely rich genre, flexible form and wide audience. Drama can organically integrate ideology and morality with comprehensive quality education, and pass it on to audiences in the form of performance. In addition, it can also help contemporary college students to establish the correct world outlook, outlook on life and values, so it is an effective way to educate people in the new period. Based on the author's learning and practical experience, this work first analyzed the contribution of drama activities to the healthy development of campus culture, then summarized the current problems in carrying out campus drama activities, and finally put forward the embedded path of the educational function of the drama culture in college and universities.</p>
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Vorotynskiy, B. I. "Prof. I. A. Sikorskiy. Epidemic free deaths and murders in Ternovsky farms (near Tiraspol). - Questions of neuropsychic medicine. T. II, no. 3.1897." Neurology Bulletin V, no. 4 (October 22, 2020): 208. http://dx.doi.org/10.17816/nb46965.

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Everyone knows the terrible drama that played out among the sectarians of the Ternovsky farmsteads: 25 people were subsequently (in groups) buried alive, dying to die a free death. This terrible Ternovo event is in our time an unprecedented fact, deserving a deep and comprehensive study. The extreme fermentation that led the sectarians to such a gloomy denouement should equally interest the historian, psychologist, forensic scientist and doctor - psychiatrist: each of them will find in this everyday drama a rich material for their scientific research.
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Yuhendra, Yuhendra. "Philosophical Values in Thornton Wilder’s Our Town." LINGUA LITERA : journal of english linguistics and literature 1, no. 2 (September 19, 2015): 48–59. http://dx.doi.org/10.55345/stba1.v1i2.34.

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As one of human’s expressions, literature is used to reflect lives, human behavior and effects of their actions. The objective of this paper is to explore and revealssocial values in one of influential literary works, a play Our Town by Thornton Niven Wilder. The drama was appraised by critics for the messages it has abouthuman life and the playwright was awarded Pulitzer Award in 1938. This drama is claimed as drama which is rich of philosophy about life. This bibliographicalresearch uses descriptive method with qualitative data taken from the script of the drama. It applies philosophical approach to see the values of life reflected in the drama to human. From moral point of view, Our Town has strong messages that people need to learn to appreciate lives and others. The messages are not only meant for the past – when the play was written - but also for the present situation and even future.
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Fryer, Louise, Linda Pring, and Jonathan Freeman. "Audio Drama and the Imagination." Journal of Media Psychology 25, no. 2 (January 2013): 65–71. http://dx.doi.org/10.1027/1864-1105/a000084.

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Presence describes immersion in a mediated environment such that it seems unmediated. For people with visual impairment, audio description replaces missing visual information with a verbal commentary, transforming an audiovisual medium into audio. Media forms are more or less immersive, with audio-only at the bottom of the scale. Anecdotally, however, pictures are said to be better on radio. Sound effects may contribute by triggering vivid mental images. Yet the role of sound effects on presence has been little explored. The aim of this study was to test the influence of sound effects and visual experience on presence. Participants (N = 73) with full, some, or no sight reported presence levels for a scene from an audio drama presented with or without sound effects. Participants with full vision reported higher levels of ecological and spatial presence for dialogue and sound effects than for dialogue alone. For participants with impaired vision, sound effects made no significant difference to presence levels. This was a small, exploratory study. Sound effects increased two dimensions of presence for those with sight. For blind people, words alone provided a rich imaginative experience. This has positive implications for audio description, which necessitates dipping the soundtrack to insert descriptive commentary. It suggests sound effects have a key role in stimulating presence, but this is dependent on the sensory characteristics of the listener.
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Walker, William. "Anadiplosis in Shakespearean Drama." Rhetorica 35, no. 4 (2017): 399–424. http://dx.doi.org/10.1525/rh.2017.35.4.399.

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A complex definition of the figure, anadiplosis, develops in the tradition that runs from ancient Greek and Roman rhetoricians up to sixteenth-century continental rhetorical theorists such as Susenbrotus. Drawing on and enriching this tradition, the English rhetoricians of Shakespeare's day defined the figure as the repetition of the word or words with which one phrase or line ends, at or near the beginning of the succeeding phrase or line. A series of anadiploses was understood to make for a gradatio (or climax). Having been schooled in these and other definitions of the tropes and figures, Shakespeare implements anadiplosis, as well as the rhetoricians’ rich metaphorical description of it, in his text. In so doing, he enhances his representation of people who are impassioned, thoughtful, witty, deranged, and ridiculous. In keeping with the rhetoricians’ recognition of the polysemy of the figure, Shakespeare also implements this figure to narrate events and make some of them seem inevitable (usually in history and tragedy) and others unlikely (usually in comedy). The Shakespearean script also frequently includes dialogic anadiplosis: the sharing of the figure by two speakers. In this form, it plays a significant role in Shakespeare's creation of authentic dialogue.
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Hood, Michael. "The Far Away Nearby: The Canadian Theatre in Alaska." Canadian Theatre Review 85 (December 1995): 34–37. http://dx.doi.org/10.3138/ctr.85.008.

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Canada and Alaska share much more than a common border, salmon harvest controversies, and seemingly endless streams of tourists. In addition to identifiable cultural, economic, geographical, and climatic similarities, and beyond the shared eccentricity that many people from other parts of the world ascribe to the inhabitants of the “last frontier”, and Canada’s “kinder, gentler America”, Alaska and Canada share a taste for independence and for art that has produced a growing and vital Alaska-Canada theatre connection. Canadian road companies of major commercial properties now play regularly in Alaska’s larger cities; Canadian authors have found receptive producers and audiences for their work in a variety of venues; and students have found Canadian drama a rich and powerful resource for their study of Canada and its people.
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D. Mapari, Ms Dimple, and Shankarlal Khandelwal. "Performative Aspects of Mahesh Dattani’s Plays." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 231–37. http://dx.doi.org/10.22161/ijels.74.33.

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Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after independence, as, many Indians entered the fray and theatre slowly became open for common people too. The post-independence Indian English drama is notable for a wide range of subjects treated, issues presented and also it takes into its compass some globally appealing issues. It displays a remarkable growth and maturity. Mahesh Dattani is a dynamic dramatist, a professional Baratnatyam dancer, a drama teacher, a stage director, and an actor. A person, who has touched almost every aspect of the theatre and has received the first ‘SahityaAkadami Award’ (1998) for writing in English, he is rightly called the successor of Girish Karnad for his innovations in dialogue writing, pragmatic stage decorations, light arrangements, etc. One of his major contributions is that he has infused actability into Indian drama in English. It seems that, all the limitations, which in a way marred the beauty of Indian English theatre down the decades, are finally overcome. As Reena Mitra observes, ‘Dattani confidently challenges the traditional denotations and connotations of the words’ India’ and ‘Indians’.1 What makes his plays ‘performance oriented’ are his dramatic techniques. The paper intends to focus upon the aspects which make his drama stand out.
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Chen, Yihan, Furui Zhou, and Chenyu Zhu. "On the Semiotic Embodiment of British Satirical Drama Films Take Chaplins Monsieur Verdoux and The Gold Rush as an Example." Communications in Humanities Research 16, no. 1 (November 28, 2023): 235–42. http://dx.doi.org/10.54254/2753-7064/16/20230712.

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Film semiotics is a theory within the professional discipline of film and television that is rich in meaning. The works of many playwrights can be referred to as textbooks for the application of film semiotics analysis. This paper focuses on two works of drama legend Chaplins The Gold Rush and Monsieur Verdoux to compare and analyze the meaning of film semiotics. The Gold Rush, with The Gold Rush as the background and money as the symbol, satirizes human greed and unlimited pursuit of money and power, describes the weakness of human nature and the flaws of society, and reminds people to cherish the present moment. Monsieur Verdoux, with love as the clue and emotion as the symbol, embodies modern peoples pursuit of love and marriage, reflecting the changes and diversification of the concepts of marriage and love in contemporary society, and the pursuit of freedom and independence, reminding people to cherish freedom and independence, and the pursuit of true happiness. According to the research findings, the future research on movie semiotics still needs to be studied in depth.
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Coffman, Victoria T., and Stephen L. Coffman. "Behavioral Rehearsal: A Way of Talking about the Dying Process." OMEGA - Journal of Death and Dying 32, no. 1 (February 1996): 63–76. http://dx.doi.org/10.2190/e1mh-wgwh-h475-ma2u.

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The authors suggest that theater activities can be used as a helpful approach to initiating more complex reflection about death among university students as well as hospice volunteers. Included in the article is an activity description and accompanying texts from a death-contemplation exercise which support this advocation. This performance skills activity produced serious student responses which were varied, articulate, and rich. Imagining and rehearsing death allows people to “act as if” and fantasize the circumstances surrounding one's death in a removed and relatively safe manner. These presentations can make the performance of life more meaningful, and the drama of death perhaps softer and more acceptable.
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Dissertations / Theses on the topic "Rich people – drama"

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Malosso, Maíra Gonçalves. "Análise da forma épica na peça We, the people de Elmer Rice." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-01082012-162933/.

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O presente trabalho tem por objetivo analisar a forma épica na peça We, the People, escrita pelo dramaturgo norte-americano Elmer Rice [1892-1967]. Essa peça, composta por vinte cenas e mais de quarenta personagens, foi escrita em 1932 e encenada em 1933, nos Estados Unidos, dentro de um dos períodos mais conturbados da história norte-americana: a Grande Depressão [1929 até o final dos anos 1930]. Pretende-se analisar a esfera formal de We, the People, dedicando particular atenção aos recursos empregados para a representação de questões sócio-históricas. Considerando-se que essas questões não são representáveis enquanto tais por meio da estrutura dramática convencional, e que pertencem ao âmbito formal do épico, o trabalho tratará de examinar e discutir o uso de recursos épicos de concepção dramatúrgica e seus efeitos dentro da peça.
This work aims at analyzing the epic form in the play We, the People written by the American playwright Elmer Rice [1892-1967]. This play is composed of twenty scenes and more than forty characters; it was written in 1932 and presented in 1933 in the United States of America during one of the most troubled period of the American history: the Great Depression [1929 end of the 1930s]. We intend to analyze the formal aspects of We, the People focusing mostly on the expedients used to represent socio-historical issues. Considering that these issues cannot be represented by using the conventional dramatic structure and that they belong to the epic form, this work will examine and debate the use of epic theater expedients and its effects in the play.
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Books on the topic "Rich people – drama"

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Oyedepo, Stella Dia. Doom in the dimes. Ibadan, Nigeria: Caltop Publications, 1997.

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Mankiewicz, Joseph L., and Charles K. Feldman. The honey pot. United States]: Metro Goldwyn Mayer, 2010.

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Dramatists Play Service (New York, N.Y.), ed. The old friends. New York, NY: Dramatists Play Service, Inc., 2015.

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Anderson, Maxwell. The wingless victory. Alexandria, VA: Alexander Street Press, 2005.

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Achard, Marcel, Max Ophuls, Annette Wademant, Christian Matras, Henri Baum, and Ralph Baum. Madame de. [Irvington, NY]: Criterion Collection, 2008.

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Wright, Craig. Dirty sexy money. 4th ed. [United States]: Touchstone Television ; Berlani Television, 2007.

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Shaw, Bernard. Major Barbara. London]: Bloomsbury, 2014.

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Alazraki, Gaz. Nosotros los nobles. México, D. F: La Familia Florentino Films, 2013.

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Morrie, Ryskind, and Victor Heerman. Animal crackers. Universal City, CA: Universal, 2011.

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Abrams, Joe, Stephan Elliott, Barnaby Thompson, James D. Stern, and Sheridan Jobbins. Easy virtue. Culver City, Calif: Sony Pictures Home Entertainment, 2009.

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Book chapters on the topic "Rich people – drama"

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Haywood, Eliza. "The Adventures of Eovaai Princess of Ijaveo (1736)." In Selected Fiction and Drama of Eliza Haywood, edited by Paula R. Backscheider, 221–42. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195108460.003.0006.

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Abstract The Kingdom of Ijaveo was once among the Number of the most rich and powerful of any that compose the sublunary Globe; almost impregnable by its Situation, and more so by the Bravery and Industry of the People.2 The Earth Produced all kinds of Fruits and Flowers: the Rivers abounded with the most delicious Fish: the Air afforded a vast Variety of the feather’d Race, no less beautiful to the Eye, than exquisite to the Taste; and to crown all, the Climate was so perfectly wholesome, that the Inhabitants lived to an extreme old Age, without being afflicted with any Pain or Disease.
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De Angelis, Eugenio. "Shokutaku Jigoku Visions of Family Meals in Japanese Cinema." In Ca’ Foscari Japanese Studies. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-559-9/013.

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Cooking and dining scenes have been a ubiquitous presence in Japanese cinema since its inception, and the relationship between Japanese people and food has been frequently exploited to play out family dynamics, rites of passage, etc. Therefore, the dining room often becomes the place where drama unfolds in striking contrast with this supposedly safe environment. This paper focuses on three films where dining scenes are particularly relevant – Ozu Yasujirō’s The Flavor of Green Tea Over Rice (1952), Morita Yoshimitsu’s The Family Game (1983) and Miike Takashi’s Visitor Q (2001) – in order to analyse how Japanese cinema has documented the transformation of family relations in time.
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Rickard, David. "Pyrite and the Origins of Civilization." In Pyrite. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780190203672.003.0006.

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Pyrite is an often-overlooked material today although it has been instrumental in enabling many aspects of our modern culture and industry. This bright, brassy mineral is the most abundant metal sulfide in the Earth’s crust and provides a marked chemical contrast to the duller silicates and oxides that constitute most rocks. Most people today are familiar with the mineral, even though they do not know its details, because it stands out in the natural environment and because of the connection with fool’s gold. Pyrite has been a source of both metals and sulfur since ancient times, and both of these commodities have been key to our civilization. The mineral is easily decomposed by heat with the production of sulfur, sulfur oxide gases, and a metal-rich slag. It oxidizes readily in aerated water to form red and yellow ochers that may be used as pigments. It commonly occurs with other valuable metals that may be extracted by leaching or heating with various fluxes. In summary, it is an exceptional mineral whose benefits were readily available to primitive societies and have led to the development of our modern civilization. One of the extraordinary facets of our modern civilization is that we take lighting fires for granted. All you need is a cheap match. However, this is a relatively recent invention. So how did the early Victorians and their predecessors light their fires? Old films and television series, the so-called costume dramas, rarely, if ever, show people lighting fires. One reason for this was that lighting a fire could be a long process, so once it was lit, it was kept going. Even I remember that letting the fire go out was a heinous crime in the days before central heating, when our house was heated by a coal fire. The fire was kept going during the coldest winter weeks: it was banked up at night with coal, which kept it nicely smoldering while we slept. Its heat prevented the water pipes in the house from freezing during the iciest nights and subsequently bursting when they were warmed up again.
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