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1
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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Ahmad Rind, Dr Ayaz, Hafiz Muhammad Fiaz et Shams Zoha Ali. « URDU-20 The Beginning of Saraiki Drama ». Al-Aijaz Research Journal of Islamic Studies & ; Humanities 5, no 3 (24 octobre 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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Binder, Werner. « The drama of politics ». Thesis Eleven 142, no 1 (3 septembre 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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Engelstad, Audun. « Watching Politics ». Nordicom Review 29, no 2 (1 novembre 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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Judd, Ellen R. « Dramatic Conflict : Between State and Market in the Cultural Production of Theatre in Rural China ». Culture 16, no 2 (23 novembre 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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Vermeulen, Julien. « Wole Soyinka. Het Profiel van een Nobelprijswinnaar ». Afrika Focus 3, no 1-2 (12 janvier 1987) : 123–46. http://dx.doi.org/10.1163/2031356x-0030102007.
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It is always difficult to define exactly why a particular author has been awarded the Nobel Prize for Literature. This approach will deal with four different aspects which may have contributed to Wole Soyinka’s award. It cannot be denied that Soyinka is the author of an extensive and richly varied work, which has been appreciated by critics the world over. Especially the satirical qualities of his style have been praised on many occasions. But we have to focus our attention on two other important aspects. We can only achieve a full understanding of Soyinka's dramas when we interpret them against the background of Yoruba drama and Yoruba cultural tradition. And we can only appreciate Soyinka's work if we pay attention to the social context in which it is situated. This political commitment, as well as the international reputation Soyinka has helped to create as a director and an actor, are essential elements that have contributed to this Nobel Prize award.
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Bickis, Heidi. « Expanding the Margins of Our Narrative : A Review ». Canadian Theatre Review 125 (janvier 2006) : 124–28. http://dx.doi.org/10.3138/ctr.125.022.
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The anthologies and plays reviewed here offer some exciting possibilities as to how theatre can deal with tragic historical events, interrogate fixed identities, open up new narratives and challenge audiences to look at Canadian theatre and Canada in a different way. Although the plays vary in subject and style, all, in one way or another, are indicative of how Canadian theatre is being influenced by what Northrop Frye refers to as “a post-national consciousness,” a notion Damiano Pietropaolo uses in his preface to Where Is Here? The Drama of Immigration. In this new collection, Pietropaolo has anthologized twelve original radio dramas commissioned by CBC’s national radio drama program, Sunday Showcase. The plays featured tell a wealth of different stories on the theme of immigration, all of which draw attention to the way place informs the immigrant experience and identity. A Terrible Truth, a two-volume anthology of Holocaust drama compiled by Irene Watts, which includes a significant Canadian representation, raises questions about how, and even if, theatre should respond to a tragedy as incomprehensible as the Holocaust. Contextualized in Kertzer’s thorough introduction, the varying plays featured in these two volumes touch on many different aspects of the Holocaust and challenge the audience with questions that seem unanswerable. In The Plum Tree, Mitch Miyagawa confronts the past in this play about the effects of the forced internment on several generations of a Japanese-Canadian family. Lastly, in China Doll, Marjorie Chan uses the tradition of foot-binding to bring to life the story of a young girl caught in the social and political changes taking place in early-twentieth-century China.
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Krouk, Dean. « The Montage Rhetoric of Nordahl Grieg’s Interwar Drama ». Humanities 7, no 4 (15 octobre 2018) : 99. http://dx.doi.org/10.3390/h7040099.
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This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusses Grieg’s writings on Soviet theater from the mid-1930s. Grieg embraced innovative aspects of Soviet theater at a time when the greatest period of experimentation in post-revolutionary theater was already ending, and Socialist Realism was being imposed. The article briefly discusses Grieg’s controversial pro-Stalinist, anti-fascist position, before concluding that Vår ære og vår makt represents an important instance of Norwegian appropriation of international modernist and avant-garde theater.
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Park, Noh-Hyun. « The Journal of Korean Drama and Theatre and Television Drama : Focusing on Quotation of Lines/Scenes in Research on Television Drama ». Korean Society of Culture and Convergence 44, no 10 (31 octobre 2022) : 1119–33. http://dx.doi.org/10.33645/cnc.2022.10.44.10.1119.
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The Journal of Korean Drama and Theatre published by the Learned Society of Korean Drama and Theatre is the most representative journal for research on Korean television dramas as a kind of drama act. The number of theses that have been gathered by a total of 75 journal series is as many as 615, which have been issued until 2020, since 1991 when it was launched. Of them, the theses on television dramas began to be initially published by the 21th series issued in 2005, and then 76 theses investigated by 35 researchers are currently published. The scenes beyond/post sheet, which appear in television dramas as image literature, become main texts, due to the genre characteristics. Lines and scenes in screens are naturally mobilized for any quotations. The current research on television dramas, however, do not give any academic guidelines regarding the quotation of lines and scenes. This paper, therefore, attempts to provide a direction of examining the current conditions of the lines and scenes quoted by research on television dramas based on 76 theses gathered in The Journal of Korean Drama and Theatre and helping both the society and the journal improve them. The measure may be largely specified as five proposals. The key point of them lies in the essence of the quotation properly certified by research, in other words, the practice of it, which make it possible to realize scholarly conversations with academic value.
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Suyadi, Suyadi. « LAKON BANGSAWAN SUMATRA UTARA, TINJAUAN SINTAKTIKA ». MEDAN MAKNA : Jurnal Ilmu Kebahasaan dan Kesastraan 17, no 2 (3 décembre 2019) : 180. http://dx.doi.org/10.26499/mm.v17i2.2140.
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The performance of drama bangsawan not only carries social, economic, and political missions. The role of drama bangsawan is increasingly important and strategic in organizing the life of the nation, state, and society. In addition to playing a role to explore the cultural and artistic values that we have, royal drama can also play a role in encouraging the realization of complete human development, which also means not only teaching material/physical, but also very useful to order the mental and spiritual of every human being. This paper presents the syntactic aspects of the drama bangsawan in North Sumatra. The syntactic aspect which is part of Charles Morris's semiotic theory explores the nature and pattern of stories of aristocratic plays. This review succeeded in discovering the existence of the aristocratic theater in North Sumatra and its shape patterns. This folk theater originally took place among the aristocrats in the Serdang Sultanate and eventually became the property of most people. The aristocratic form or concept of the show was maintained even though it was no longer played at the Palace, as the palaces in the former North Sumatra Residency after the Social Revolution collapsed. This theater should be inherited as a non-fine cultural form belonging to North Sumatra.
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Khurosan, Herpin Nopiandi, et Dyah Kristyaningsih. « UNDIMINISHED POWER OF IDEOLOGICAL DISTORTION IN RIYANA RIZKI’S SHORT STORY “SUDAH KUKATAKAN, AKU TIMUN MAS” ». LiNGUA : Jurnal Ilmu Bahasa dan Sastra 18, no 2 (29 février 2024) : 199–211. http://dx.doi.org/10.18860/ling.v18i2.23854.
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This study examines how folkloric form in Riyana Rizki's Sudah Kukatakan, Aku Timun Mas (SKATM) becomes the aesthetic strategy at a time when most Indonesian writers deconstruct Ramayana-Mahabharata Epic. Specifically, this study examines the aspects of socially symbolic act, ideologeme, and ideology of form in SKATM. To examine these aspects, the authors laboring political unconscious horizon of interpretation, proposed by Jameson, through three concentric horizons, consisting of the political, social, and historical horizons. The political horizon of interpretation showed that the SKATM narrative is a socially symbolic act of the author over social contradictions that cannot directly be resolved. Additionally, the social horizon of interpretation revealed that the symbolic social actions of SKATM are based on ideologemes or antagonistic social class collective discourses. Later, the historical horizon of interpretation demonstrated that the ideologemes drama at the social level of SKATM are held in a wider space. From the findings, SKATM manifests the folkloric form as a symbolic act, class struggle ideologeme, and cultural revolution
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Collins, James Henderson. « Dancing the Virtues, Becoming Virtuous : Procedural Memory and Ethical Presence ». Ramus 42, no 1-2 (2013) : 183–206. http://dx.doi.org/10.1017/s0048671x00000138.
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This paper is an exploration of the performance of Greek drama from the perspective of the performers, more specifically, of the chorus-in-training. The notion that khoreia constitutes an essential part of paideia and ethical instruction is an ancient one. And the notion persists, though in different forms, among scholars of the social and political context of these dramatic performances that to have participated in a chorus was in particular ways to have received training in essential perspectives and experiences of citizens: ‘the events and characters portrayed in tragedy are meant to be contemplated as lessons by young citizens.’ And yet what the members of a chorus were expected to learn, did learn, and, moreover, how they learned, have remained largely unexplored topics.I will suggest ways that we might begin to piece together a baseline of experiences and impressions that come through learning to sing, dance and compete in dramatic festivals. Most of the experiences that I will describe are partly functions of universal properties of the human mind; of course, culture and thoughts and other aspects of shared and individual experience are highly variable. Indeed, the contents of thought are unrestricted. But there are regular, even fixed, ways in which the mind and brain appear to work. I propose to describe an approach to the ways in which the words and movements and environment of dramatic competition are universally present to and apprehended by the senses and minds and bodies of a chorus-in-training. I am not suggesting that there are not other aspects of experience that are important to the performance and appreciation of drama. Rather, I hope to establish at the very least those aspects of training and performance that are necessary and perhaps even sufficient to bring a drama (and I take the chorus to be the most important part of drama) to the arena of competition. I will consider some of the lasting effects of dramatic training and performance on the life of the performer, i.e., how every performer may be changed by his experience.
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Walsh, P. G. « Making a Drama Out of a Crisis : Livy on the Bacchanalia ». Greece and Rome 43, no 2 (octobre 1996) : 188–203. http://dx.doi.org/10.1093/gr/43.2.188.
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Livy's celebrated account of the Bacchanalia has long been a magnet for students of Roman politics, social life, religion, and private law. Two recent surveys document this extensive range of scholarship. J-M. Pailler, the wellknown French archaeologist, has published a massive monograph of 850 pages, admirably documented and containing a chapter of sixty pages reviewing the bibliography of the past hundred years. Erich Gruen, in his collected papers entitled Studies in Greek Culture and Roman Policy, has contributed a long essay on the political aspects, again with a full bibliography. This paper has the more modest aim of reviewing Livy's account primarily from the literary aspect, concentrating in particular on the opening chapters which describe how the alleged coniuratio was detected.
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Huang, Yidan. « This is I, Hamlet the Dane : Hamlet and Kingship in Hamlet ». Lecture Notes in Education Psychology and Public Media 35, no 1 (3 janvier 2024) : 186–90. http://dx.doi.org/10.54254/2753-7048/35/20232103.
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Hamlet is Shakespeares most famous play. Scholars have engaged in extensive debates regarding the themes of revenge and procrastination in Hamlet. However, existing research falls short in fully exploring Hamlets thoughts on kingship and his relationship with power. Despite the extensive examination of Hamlets complex character, a more in-depth analysis from this perspective is warranted. This paper, therefore, aims to further explore the connection between Hamlet and political power from three key angles. Firstly, it examines Hamlets reflections on kingship as presented through the drama and his humanistic education. Secondly, it focuses on the political aspects of Hamlets self-generated philosophical musings about life. Lastly, it conducts a deep analysis of the father-son relationship. Through a collective analysis of these three aspects, this research seeks to unravel Hamlets thoughts on kingship and their influence. It reveals how Hamlet himself and significant figures in his life, such as his father and uncle, shape his political ideology and attitudes, as well as how Hamlets self-identity shapes his understanding of kingship issues.
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Robertson, A. « Teleforestry : Utilizing Television ». Forestry Chronicle 62, no 6 (1 décembre 1986) : 542–45. http://dx.doi.org/10.5558/tfc62542-6.
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Whether justified or not foresters are being criticized for inadequate and inappropriate forest management strategies. To address these criticisms and foster strong political and economic support for forestry a process called Teleforestry has been developed by a working party of the International Union of Societies of Foresters.In recognizing the tremendous impact that the television medium has on public opinion and for technology transfer, Teleforestry was designed as a dual process for developing television awareness among foresters and forestry awareness among television broadcasters.This article gives a brief introduction to the television news medium and some guidelines on how foresters can gain access to it and use it effectively. The potential of other aspects of television is discussed including drama, documentary drama and educational television. A plan for a World Teleforestry Conference, as a major media event, is outlined, including video teleconferencing, production of a forestry documentary, a forestry television awards festival, and supporting promotions and publications.
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Brown, Ian, Robert Brannen et Douglas Brown. « The Arts Council Touring Franchise and English Political Theatre after 1986 ». New Theatre Quarterly 16, no 4 (novembre 2000) : 379–87. http://dx.doi.org/10.1017/s0266464x00014123.
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The pressures of Thatcherism on theatre funding in the 'eighties were severe, but the early harshness was tempered by several factors. One was the positive influence of the Cork Report, particularly on touring and experimental theatre. Another, the authors believe, was a careful strategy of reallocation of funding to support creativity in English theatre, notably through the touring franchise scheme. Here, they analyze in detail the ways in which the English Arts Council operated the scheme in an attempt to revitalize aspects of English theatre from 1986 onwards, trace the change in the values of ‘political’ theatre over that period, and critically examine some received ideas in the light of the available evidence. Ian Brown is Dean of Arts and Professor of Theatre at Queen Margaret University College, Edinburgh, Rob Brannen is a Senior Lecturer in Drama at De Montfort University, Bedford. Douglas Brown is Assistant Director, Scottish Centre for Cultural Management and Policy, at Queen Margaret University College, Edinburgh.
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Yang, Yanfei. « Analyzing the evolution of the artistic image of “Yang Yuhuan” from a feminist perspective through the lens of arts and cultural management ». SHS Web of Conferences 180 (2023) : 01007. http://dx.doi.org/10.1051/shsconf/202318001007.
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Yang Yuhuan is a controversial consort from ancient China. From historical records to literary works and even contemporary film and television dramas, the image of Yang Yuhuan has been constantly reshaped. However, in the fields of stage drama and film and television works, there has been relatively limited scholarly research on her image, with even fewer touching on arts and cultural management. This paper adopts a feminist perspective to analyze the evolution of Yang Yuhuan’s image over different periods, taking her drama and film portrayals as the study subjects. The aim is to explore how, in the current societal context, one might enrich the image of Yang Yuhuan from the standpoint of arts management. Through this research, the author observes that the underlying representation of Yang Yuhuan is that of a beautiful and nation-damaging favored consort. Notably, such an image is not merely the result of personal choice but a collective product of power and knowledge. In recent years, China’s art market has seen abundant creative representations of Yang Yuhuan, but innovations concerning her image have been scant, largely adhering to its original mold. This does not align with contemporary societal and cultural norms and fails to meet audience demands. Therefore, to further diversify the image of Yang Yuhuan, creators should transcend her traditional objectified portrayal, emphasize the unique political aspects of her love story with Emperor Li Longji, reconsider the notion that “a woman can cause the downfall of a nation,” and collaboratively innovate her image through arts management.
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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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Smyth, Gerry. « ‘Trust Not Appearances’ : Political and Personal Betrayal in James Joyce's Ulysses ». Irish University Review 44, no 2 (novembre 2014) : 254–71. http://dx.doi.org/10.3366/iur.2014.0123.
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Literary historians such as Tony Tanner have speculated that adultery, with its assault upon the patriarchal institution of marriage and its potential for family drama, is the principal theme of the bourgeois novel that evolves in Europe during the nineteenth century. Joyce's famous work was heir to the great nineteenth-century novel of adultery – a tradition which includes the likes of Tolstoy's Anna Karenina (1873–77), Flaubert's Madame Bovary (1857), and Zola's Thérèse Raquin (1867). An act of marital betrayal lies at the heart of the story, an act which Joyce explores in all its emotional and moral complexity. Other critics (such as David Lloyd) have argued that his condition as an Irish writer obliged Joyce to develop an ‘adulterated’ form of writing – one which refused the precepts of patriarchal authorship, and in so doing contributed significantly to the emergence of the cultural sensibility known as Modernism. This article addresses Joyce's imagination of personal and political betrayal as explored in both the thematic and formal aspects of Ulysses.
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Gaidash, Anna, et Svitlana Kadubovska. « Old age representations in Constanze Dennig’s dystopia “Exstasy Rave” ». Studia Philologica 2, no 15 (2020) : 70–76. http://dx.doi.org/10.28925/2311-2425.2021.159.
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The paper tackles the representations of old age in Constanze Dennig's dystopia "Exstasy Rave". Modern theatrical tendencies and the role of drama as a mouthpiece of social ideas, in particular in matters of aging and old age, are related; ageist stereotypes in the text of Constanze Dennig are analyzed; problem-semantic aspects of corporeality are studied; the possibilities of author's remodeling of discriminatory stereotypes of old age are inferred. The challenges presented by the Austrian woman playwright in her drama allow us to attribute her work to the post-dramatic theater, which in Lehmann's sense is able to help restore the social continuum and support society's internal unity. Through the mouths of the protagonists and the nonverbal plane, Dennig's drama becomes a means of communication in society. The analyzed age stereotypes of the play reveal the author's reflection on the social challenges of modern Western society, including the attitude to the third age and the aging process. In the dystopia, old age is perceived as a physical and moral decline and a burden on society. In the future, discriminatory practices against the older generation are not only verbal, but also physical (forced euthanasia). There are manifestations of self-stereotyping by the aged dramatis personae themselves. Carefully read problem-semantic aspects of corporeality in a dramatic text are a segment of ageist discourse, sometimes with a political color. Yet, the woman playwright offers mechanisms for remodeling the ageist consciousness by means of the female characters (Eva, Michaela). Dennig constructs a sharply negative vision of the potential consequences of the ageist attitude towards the elderly because she observes their roots in the socio-economic and moral-ethical issues of today. Thus, old age is a litmus test for the social morality of Europeans, who set an example to the younger generation with their attitude to old age.
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Marini, Anna Marta. « El México que no fue : The Tentative Retelling of Luis Donaldo Colosio’s Assassination ». Comparative Cinema 9, no 16 (15 juillet 2021) : 31–51. http://dx.doi.org/10.31009/cc.2021.v9.i16.03.
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On the occasion of the 25th anniversary of his death in 2019, Netflix released two limited series focused on Mexican presidential candidate Luis Donaldo Colosio and his assassination. 1994 (directed by Diego Enrique Osorno) and Crime Diaries: The Candidate (Historia de un crimen: Colosio, directed by Hiromi Kamata and Natalia Beristáin) are, respectively, a documentary series and a drama, both delving into the political conjuncture surrounding both Colosio’s candidacy and the investigations subsequent to his assassination. Since his dramatic death, the image of Colosio has maintained its associations with heroism and his unrealized presidency has come to embody the “México que no fue,” a radically innovated Mexican state that never was and, possibly, will never be. Both series rely on the exploitation of original footage and underlying political takes on the events. This analysis will critically compare the two series from three main thematic perspectives: the Mexican political context at the time of the assassination; Colosio’s characterization and private life; and the procedural aspects of the investigations.
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Batytska, Tetiana. « Aspects of Theatre Directing in the Maria Zankovetska National Academic Ukrainian Drama Theater during the 1990s–2010s ». ARTISTIC CULTURE. TOPICAL ISSUES, no 19(2) (29 novembre 2023) : 86–94. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294632.
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The paper examines the key features of the creative work of three stage directors of the Maria Zankovetska Theater during the 1990s–2010s: Fedir Stryhun, Alla Babenko, and Vadym Sikorskyi. The analysis of their landmark productions enables distinguishing the method of working on the theatrical production by each of them and outlines the thematic and conceptual range of both the artists’ works and the theater as a whole. The variety of artistic methods of stage direction during the period was studied, including the elements of psychological, poetic, and conditional theater in the terms of aesthetics, as well as the political, philosophical, and intellectual theater in relation to the concept, and the nature of the conservative and experimental theater in respect to the novelty of the implementation of stage solutions. It was identified that the creative image of the theater had been established by F. Stryhun and his artistic guidelines were dominant during the period, with his creative work oriented towards the social and cultural educational demands of Ukraine. Modern stage design and directing, presented by his colleagues A. Babenko and V. Sikorskyi, were less significant in the overall course of the theatre.
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Wheatland, Fiona Tito. « Medical Indemnity Reform in Australia : “First Do No Harm” ». Journal of Law, Medicine & ; Ethics 33, no 3 (2005) : 429–43. http://dx.doi.org/10.1111/j.1748-720x.2005.tb00510.x.
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Medical indemnity is not usually the stuff of high political and social drama in Australia. When the biggest medical defense organization went into voluntary liquidation in 2002, this all changed. Newspapers carried stories on an almost daily basis about the actual or possible negative impact of the “crisis” on doctors, hospitals, and communities. Doctors became increasingly vocal in their criticisms and expansive in their claims. Their political organization, the Australian Medical Association, lobbied powerfully and successfully for government intervention to address the problem of dramatically escalating premiums for some doctors. This, combined with a broader public relations campaign about public liability insurance, resulted in significant changes in the law at both the federal and state level - not just in the area of medical negligence but in relation to most personal injury litigation.The genesis of and reasons for current medical indemnity problems in Australia have been the subject of much speculation and little rigorous analysis.
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Kim, Gongsook. « The Archetype of Femme Fatale Character in K-drama : Focusing on the Heroine of Misty ». Korean Society of Culture and Convergence 45, no 4 (30 avril 2023) : 291–308. http://dx.doi.org/10.33645/cnc.2023.04.45.04.291.
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The archetype of the femme fatale character of Go Hye-ran, the heroine of the K-drama Misty, was analyzed by applying the Greek mythology archetype theory of the Jungian School of Bolen and the discussion of the femme fatale character in literature. A femme fatale is a female type that maximizes the negative aspects of the archetype of the goddess Aphrodite. Misty shows the tragedy that can happen when an goddess Aphrodite-archetypal woman rushes for her desire through the modern success-oriented femme fatale Go Hye-ran. She reproduces the archetype of femme fatale as a beautiful and menacing villainess, an unknown woman wrapped in a veil, and the incarnation of narcissistic desire. The femme fatale's counterpart is an immature and weak male type. Lee Jae-young is analyzed as the archetype of Ares, the goddess Aphrodite's lover, Myung-woo Ha as the archetype of Hephaestus, the husband chosen by Aphrodite, and Tae-wook Kang as the archetype of Apollo. Go Hye-ran can be said to be a true femme fatale in K-drama, which completed Misty as an archetypal drama by embodying femme fatale characters in myths and classics in a modern way.
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Pereira, Luciana. « SUBALTERNITY AND OTHERNESS : AN INTERNAL ACCOUNT OF THE LIFE IN A FAVELA ». REVISTA DE LETRAS - JUÇARA 6, no 2 (29 décembre 2022) : 327–37. http://dx.doi.org/10.18817/rlj.v6i2.3034.
Texte intégralRésumé :
The word community implies homogeneity and equality. Nevertheless, in favelas, the community is characterised by its heterogeneity and its internal battles among its members. This article aims at analysing Carolina Maria de Jesus's descriptions of her life in the favela of Canindé, in her book Child of the Dark, facts which took place in the 1950s. The aspects of otherness and subalternity will be applied to this study to understand how such a clear description of the drama in the favelas did not reach Brazilian society and the political realm when it was published. This article will also describe how the favela subaltern community are heterogeneous and lack unity against the powerful forces that submit these communities to invisibility and otherness.
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Cladis, Mark S. « Du Bois and Dark, Wild Hope in an Age of Environmental and Political Catastrophe ». Ecozon@ : European Journal of Literature, Culture and Environment 11, no 2 (1 octobre 2020) : 216–23. http://dx.doi.org/10.37536/ecozona.2020.11.2.3500.
Texte intégralRésumé :
The question of hope and its relation to despair looms all around us—in private conversation and in public discourse. In Environmental Humanities and the Literary Arts, one finds a pervasive pessimism as these fields grapple with such catastrophes as climate change and white nationalism. In this article, I investigate and critically appropriate W. E. B. Du Bois’ notion of a dark, wild hope, suggesting that this particular form of hope is needful as we confront various environmental and political crises. I begin the article by exploring a form of hope that sustained Du Bois in the face of persistent racism—including environmental racism. Next, I argue that Du Bois’ dark, wild hope can help us think about forms of hope appropriate for our own time. Du Bois’ response to the catastrophes that he faced is instructive as we attempt to respond robustly to our current catastrophes. Resilience and vulnerability, resistance and uncertainty, transformation and constraints—these aspects of the human drama informed Du Bois’ dark, wild hope. And this hope—not sunny and Pollyannaish, but rather rooted in suffering, trial, and grief—is a powerful resource for us today.
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Falski, Maciej. « Semiotics of the “third force” ». Narodna umjetnost 56, no 1 (2 juillet 2019) : 27–40. http://dx.doi.org/10.15176/vol56no102.
Texte intégralRésumé :
The present paper analyzes the media representation of the idea of the “third force” in politics. The research focuses on how the notion is being staged and visualized in order to create the impression of a new and fresh agent in the race for power. The case of MOST, a political coalition which gained importance in the 2015 Croatian parliamentary election, seems particularly important and adequate for the purpose. I do not discuss programs, political aims or visions of the main political parties. Rather, I propose a semiotic analysis of public communication. Attention will be paid to performative aspects of television broadcasts, organization of the space where negotiations were held, visual relations between political actors. The broadcasts, and the broadly taken space of public contact, will be treated as a stage, and actions taking place on such a stage as a political drama, with a screenplay which may be, but is not necessarily, conscious and planned. When seen from this perspective, the focus of interest does not lie on the purposeful layout of seating in a meeting or a public communique, but on unconscious cultural patterns which have a great impact on our decisions, choices, and perceptions. Ultimately, the electoral success of MOST was related not only to its program, but also–or maybe mostly – to its performative policy and its consistent positioning as a new actor in the political field.
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Bird, Kym. « Performing Politics : Propaganda, Parody and a Women's Parliament ». Theatre Research in Canada 13, no 1 (janvier 1992) : 168–93. http://dx.doi.org/10.3138/tric.13.1.168.
Texte intégralRésumé :
The initial phase of women's drama in Canada coincides with the first wave of 19th-century Canadian feminism and the Canadian women's reform movement. At the time, a variety of women wrote and staged plays that grew out of their commitment to the political, ideological and social context of the movement. The 'Mock Parliament,' a form of theatrical parody in which men's and women's roles are reversed, was collectively created by different groups of suffragists in Manitoba, Ontario, Alberta and British Columbia. This article attempts to recuperate these works for a history of Canadian feminist theatre. It will argue that the 'dual' conservative and liberal ideology of the suffrage movement informs all aspects of the Mock Parliament. On the one hand, these plays critique the division of gender roles that material feminism wants to uphold; they are testimony to the strength of a woman's movement that knew how to work as equal players within traditionally structured political organizations. On the other hand, they betray the safe, moderate tactics of an upper and middle-class, white womanhood who wanted political representation but no structural social change. These opposing tensions are inherent in theatrical parody which is both imitative and critical.
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Rim, Hoon. « A Study on Watching Motivation and Watching Satisfaction of OTT : Focusing on Korean Original Drama ». Korean Society of Culture and Convergence 44, no 10 (31 octobre 2022) : 131–45. http://dx.doi.org/10.33645/cnc.2022.10.44.10.131.
Texte intégralRésumé :
This study empirically analyzed the watching motivation and satisfaction of college students who showed active media use behavior targeting OTT Korean original dramas, which are attracting attention as OTT core contents. In addition, based on the analysis, we presented implications for the direction of production activation and development to improve the watching satisfaction of OTT Korean original dramas. First, as a result of analyzing the motivation factors for OTT Korean original drama watching by college students, four factor structures were identified: 'companion motive', 'use convenience motive', 'social usefulness motive', and 'learning/information motive'. Second, as a result of analyzing the influence of four factors of OTT Korean original drama watching motivation on watching satisfaction, 'use convenience motive' and 'learning/information motive' were found to be statistically significant, and 'use convenience motive' was the most has been found to have a great influence.
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Kovacs, Teresa. « Theatre Meets Quantum Physics : René Pollesch’s Theatre for the Age of Technoscience ». Seminar : A Journal of Germanic Studies 58, no 3 (1 septembre 2022) : 289–307. http://dx.doi.org/10.3138/seminar.58.3.4.
Texte intégralRésumé :
This article looks closely at how the German director René Pollesch incorporates quantum physics into his theatrical practice. I argue that the double-slit experiment that Pollesch refers to in his play Probleme Probleme Probleme (2019) is key to understanding his non-representational theatre. I analyze the deep implications of this experiment for his theatre with respect to two aspects: (1) I highlight the fact that his interest in the writings of feminist and philosopher of science Donna Haraway is connected to a critique of representational theatre with its specific conceptualization of “the Human” as a Cartesian subject; and (2) in line with feminist and physicist Karen Barad, I discuss how the double-slit experiment, understood as a queer phenomenon, helps Pollesch rework central categories of drama and representational theatre. Subsequently, this allows me to conclude that Pollesch continues Bertolt Brecht’s project of a political “theatre for the scientific age” under new conditions. His theatre is a political theatre for the “technoscientific age” where “the Human” as opposed to its “Others” no longer exists. The term diffraction is key for understanding my analysis because it functions as an analytical tool that connects the aforementioned aspects. Moreover, it also describes my method of making visible the pattern that comes into being when Pollesch meets the double-slit experiment, or, more generally speaking, when theatre meets quantum physics.
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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 (16 novembre 2023) : 28. http://dx.doi.org/10.17851/2358-9787.32.2.28-45.
Texte intégralRésumé :
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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Hutchings, Stephen C. « The gypsy as vanishing mediator in Russian television coverage of interethnic tension ». Nationalities Papers 41, no 6 (novembre 2013) : 1083–99. http://dx.doi.org/10.1080/00905992.2013.801417.
Texte intégralRésumé :
The article addresses the representation of gypsies in Russian television news bulletins and popular drama series over a 15-month period. It seeks first to explain the prominence of the media image of the gypsy relative to the size of the Roma population and second to account for the relationship between fictional and non-fictional modes of representation. Situating itself within the broader field of post-Soviet Russian identity studies and applying qualitative tools differentiated according to the arena of analysis, it looks at questions of lexicon, voice and viewpoint in relation to news and issues of characterization, fictional space and plot with respect to drama. The two apparatuses are linked through a shared emphasis on narrative, and in particular on its dual orientation toward the exceptional (what makes a story worth telling and capable of embracing “difference”) and the typical (what enables it to represent and project “identity”). In its central argument it maps this dual “identity/difference” dynamic onto the gypsy's liminal status as both “of the self” and “of the other”, and its mediatory function: the ability to serve as a proxy for ethno-cultural difference more generally, and to negotiate the tensions between the cultural and racial aspects of ethnicity.
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Grugan, Shannon T. « Capturing Cruelty ». Society & ; Animals 27, no 1 (4 janvier 2019) : 92–108. http://dx.doi.org/10.1163/15685306-12341530.
Texte intégralRésumé :
AbstractThe news media has long been identified as one of the primary sources for factual crime information for the general public, but not much is known about media coverage of cruelty against nonhuman animals, specifically. This study is a content analysis of media-presented themes in 240 print news articles that reported incidents of cruelty against companion animals in the United States in 2013. Seven thematic presentations of cruelty are identified and include: neutrality, condemnation, sympathy for the animal, drama, advocacy, humor, and sympathy for the offender. These themes are not mutually exclusive, with many articles including aspects of more than one theme. Themes are discussed in detail in regard to expanding the understanding of how specific forms of crime are presented by the news media based in news-making criminology.
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Al-Doory, Awfa Hussein, et Mahmoud F. Al-Shetawi. « Romeo and Juliet in Baghdad : A Reconsideration of the Iraqi Sectarian Conflict through the Eyes of Shakespeare ». Journal of Tikrit University for Humanities 28, no 3, 4 (31 mars 2021) : 34–46. http://dx.doi.org/10.25130/jtuh.28.3.4.2021.24.
Texte intégralRésumé :
For the last years, Shakespeare has been the subject of considerable critical and artistic scrutiny —a matter that situates his dramatic heritage far beyond its original Elizabethan context and places it within a spectrum of different historical and cultural contexts. This paper aims at examining Romeo and Juliet as a universal love story that is labeled so because of its timelessness and its relevance to all ages, societies, and conditions. The following study argues that the Iraqi version of Romeo and Juliet is a political drama that echoes a collective traumatic experience engendered by the aftermath of 2003, namely the sectarian conflict. It attempts to answer the following question: how does Monadhil Daoud Albayati recontextualizes the Shakespearian version of Romeo and Juliet to dramatize the collective Iraqi experience that is drenched in a bloody sectarian conflict. Theoretically, the paper draws on two different theories which significantly echo the different aspects the play indicates implicitly or explicitly. It draws on the theory of intertextuality, trauma theory, as well as other aspects related to the determination of Iraq's collective consciousness. The following paper, in fact, identifies the interrelated magnitude of the Iraqi overwhelming sectarian experience in the aftermath of 2003.
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Gyanwali, Gokarna Prasad. « Mistica : A Marxist Praxis ». Patan Pragya 9, no 02 (31 décembre 2021) : 91–98. http://dx.doi.org/10.3126/pragya.v9i02.42027.
Texte intégralRésumé :
The Mística is the symbolic or dramatic social movement of Marxism initiated by Brazilian Landless Rural Workers. It is the popular movement practiced by the Communist parties and socialist organizations of the world. It was developed from Latin American liberation doctrine and interpreted as love for a cause, solidarity experienced in collectivity, symbolic presentation of the socialist movement, and belief in radical change. It is one type of philosophical movement which has a demonstrative attachment, praxis of pedagogy, behavioral collectivity, and cultural movement to change the social world guided by the theory of Karl Marx. It has political roots against the homogenization of culture, imperialism, and capitalist domination of the world. It uses art, music, drama, activity, symbol, media, and other modern tools which help the people for emancipation. This article will demonstrate some of the major aspects of mistica based upon the field observation of Brazil and Nepal.
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Free, Marcus. « Introduction to the Special Issue : Contemporary Irish Television ». Television & ; New Media 22, no 1 (30 novembre 2020) : 3–11. http://dx.doi.org/10.1177/1527476420975757.
Texte intégralRésumé :
This special issue examines aspects of Irish television at the current political, economic and cultural conjuncture in Ireland, and against the backdrop of two major crises since the 1990s: the first deriving from the Catholic Church’s institutional abuse scandals, which progressively weakened its power and influence; the second from the 2008 collapse of the Celtic Tiger economic boom, following which years of austerity have deepened social inequality. Focusing primarily on Ireland’s public service broadcaster RTÉ, the articles consider how national television in Ireland has represented and negotiated the resultant tensions and divides within Irish society. They examine the endurance and evolution of a daily Catholic ritual on national television; the weaknesses of a transnational drama in addressing the legacy of institutional abuse; varieties of progressive post-2015 Marriage Equality referendum “queer” television; “property television” and the current housing crisis; and intergenerationally themed reality television in the context of growing generational inequality.
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Putri, Intan Listyaning, Andayani Andayani et Nugraheni Eko Wardani. « Social Criticism and Morality in "Subversif!" Drama by Faiza Mardzoeki as Literature Teaching Materials ». Journal of Languages and Language Teaching 12, no 1 (9 janvier 2024) : 487. http://dx.doi.org/10.33394/jollt.v12i1.8828.
Texte intégralRésumé :
The overarching goal of education extends beyond the mere attainment of competencies and academic standards; it encompasses a broader responsibility to cultivate students' awareness of their societal roles, obligations, and rights. This research, undertaken with the specific focus on the drama script "Subversive!" by Faiza Mardzoeki, aims to elucidate the manifestations of social criticism and morality within this literary work. Employing a qualitative research approach, this study hinges on document analysis as its primary methodological framework. Qualitative research, distinguished by its departure from statistical procedures and quantitative calculations, relies on the exploration of assumptions, broad perspectives, theoretical lenses, and a thorough examination of research problems. The research findings primarily unveil instances of social criticism embedded in political contexts and discernible moral dynamics between individuals. Notably, these insights derived from the drama script "Subversive!" serve as valuable material for the pedagogical realm, contributing to the understanding of literary texts in educational settings. This research contends that the implications of its findings extend to the realm of high school literature education, providing a foundation for educators to consider various aspects, types, and impacts of literary works. By delving into the social and moral criticisms encapsulated within these texts, educators can enhance the learning experience, prompting thoughtful reflection on societal constructs and the multifaceted roles literature plays. Additionally, the research underscores the pivotal role of teachers in facilitating this process, thereby emphasizing the broader educational significance of integrating critical perspectives into the study of literature.
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Singleton, Brian. « K. N. Panikkar's Teyyateyyam : Resisting Interculturalism Through Ritual Practice ». Theatre Research International 22, no 2 (1997) : 162–69. http://dx.doi.org/10.1017/s0307883300020563.
Texte intégralRésumé :
Indian theatre practice under British colonial rule was marked by differing strategies of resistance: agit-prop drama to promote social and political reform; the preservation of classical dance as cultural heritage; and the continuing practice of folk rituals in rural areas outwith the immediate control of the colonial authorities. Postindependence India, however, has witnessed those ‘deviant’ practices of resistance become the dominant ideological performance practices of modern India. Much actor training continued to be modelled on British drama schools such as RADA (Royal Academy of Dramatic Art); classical dances have survived to incorporate certain aspects of western ballet (for example, group sequences in Kathak); and the folk rituals have come increasingly under the microscope of western cultural tourists. Indian theatre practice, therefore, succumbs to the power of the dollar, as western academics and practitioners, with their financial and technological power, act as legitimizing agents for the global recognition of Asian culture. We are at a time when great currency is being attached to the notion of intercultural rejuvenation of home cultures by acts of productive reception with foreign cultures (a more positive definition of the practice by Erika Fischer-Lichte in direct response to Edward Said's charge of cultural colonialism which he terms orientalism). It is worthwhile taking note of how certain forms of modern Indian theatre are resisting intercultural practices, not by refusal or direct opposition, but by theatrical acts of intra-cultural rejuvenation, without the injection of the foreign culture as a serum.
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Hill, Annette, Mette Mortensen et Joke Hermes. « Fear : Introduction to special issue ». European Journal of Cultural Studies 24, no 4 (août 2021) : 793–800. http://dx.doi.org/10.1177/13675494211033297.
Texte intégralRésumé :
Fear needs dealing with. Fear demands to be abated, countered or turned into something else, contributing and curtailing how we ‘do’ being human beings. This special issue of the European Journal of Cultural Studies addresses fear within media and popular culture, adopting a cultural studies approach to fear in a variety of socio-cultural and political contexts. A cultural studies approach allows us to enhance the horizon of understanding cultural practices, mediation and the subjective experience of fear as something we need to work through, in a process of recognition and shock, action and reaction, understanding and reflection. This focus on ‘working through fear’ offers new insights into the intensely subjective aspects of fear as it is creatively explored in representations within drama and documentary, photography and art, and in user-generated content, memes and political satire, and as it is embodied and experienced by people in the context of their realities. In addition, it shows how fear generates energy, anxiety and even desire. Rather than offering a generalizing account, this issue seeks to address fear in specific contexts, localities and from specific roles and perspectives.
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Rogan, Eugene L. « Archival Resources and Research Institutions in Jordan ». Middle East Studies Association Bulletin 23, no 2 (décembre 1989) : 169–79. http://dx.doi.org/10.1017/s0026318400021647.
Texte intégralRésumé :
To Date, Jordan remains a country largely studied from without. A number of excellent monographs treating diverse aspects of the politics, economy, demography, and history of Jordan have come out in recent years, drawing primarily on the wealth of resources preserved in European, American, and, most recently, Israeli archives. The sources used strongly influence the selection of topics treated. Thus, one resulting bias is that Jordan is seldom studied in its own right; rather, scholars have concentrated on its history under British mandatory rule, or as a player in the Arab-Israeli drama. Consequently, the dynamics of Jordanian structures—social, economic, and political—are either cursorily reviewed or presented as apprehended by travelers, political officers, or intelligence agents. In view of the relative ease of conducting research in Jordan, and the availability of diverse primary sources, the study of Jordan from within is to be encouraged. Towards this end, the following is intended to serve as an introduction to conducting research in Jordan, and as a survey of primary sources and research centers of value to the study of Jordan and the Middle East in general.
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Whiteley, Giles. « HENRY LONGUEVILLE MANSEL'S PHONTISTERION (1852) ». Victorian Literature and Culture 46, no 2 (16 mai 2018) : 485–514. http://dx.doi.org/10.1017/s1060150318000104.
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Established in 1859, as a merger of the Whigs, Radicals and Peelites, the British Liberal Party and their ideological forerunners won 15 out of a total of 20 parliamentary elections between 1832–1910. Responsible for passing socially progressive legislation domestically, Victorian liberalism can lay claim to being the most significant political ideology of the period. By bringing together aspects of classical social liberalism and liberal free-market conservatism, this specifically Victorian brand of liberalism enabled Britain to take a place at the center of world affairs. Indeed, by the mid-1850s, the emergence of Victorian liberalism had begun to be seen as something of a political necessity, as demonstrated by Thomas Babington Macaulay's The History of England from the Accession of James II (1848–61), a foundational text of Whig historicism, in which Lord Charles Grey's 1832 Reform Bill was characterized as the teleological culmination of British history. But while the liberals styled themselves as progressives and their opponents as reactionaries, Whig history has tended to oversimplify the dynamics of this narrative. In this context, Henry Longueville Mansel's closet drama Phontisterion offers a fascinating glimpse into a contemporary Tory response to the seemingly irresistible rise of Victorian liberalism.
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Aistrope, Tim. « Popular culture, the body and world politics ». European Journal of International Relations 26, no 1 (5 juin 2019) : 163–86. http://dx.doi.org/10.1177/1354066119851849.
Texte intégralRésumé :
Popular culture is widely understood to intersect with and shape our understanding of world politics. Numerous studies have highlighted the way language and imagery from literature, drama, film, television and other sites of cultural production make their way into political discourses on geopolitics, terrorism, immigration, globalisation and arms control, to name a few. Conversely, world events, especially international crises, provide rich materials for popular culture across mediums and genres. This interchange has often been understood through the theory of intertextuality, which highlights the way the meaning and authority of any text is established by drawing on, or positioning against, other texts from the surrounding culture. This article develops an account of intertextuality that takes seriously the embodied dimensions of popular culture and political discourse. Revisiting the work of Julia Kristeva, I argue that a framework binding together bodies, discourses and social practices offers a promising avenue for International Relations scholars grappling with the embodied aspects of intertextuality. The article explores the implications and potential of this conceptualisation through a case analysis of the sport–war intertext and spectacular war. In doing so, it demonstrates that the legitimising effects ordinarily understood to accompany intertextuality are intensified when bodily drives, impulses and affect are taken into account.
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Syafrina, Rany. « Romantic Ideas in William Wordsworth’s Play The Borderers ». LINGUA LITERA : journal of english linguistics and literature 2, no 2 (2 septembre 2018) : 100–113. http://dx.doi.org/10.55345/stba1.v2i2.21.
Texte intégralRésumé :
William Wordsworth is mostly known as a poet, but in reality he also wrote a closet drama The Borderers. As an author, William Wordsworth is also influenced by his surrounding society, political movement, as well as philosophical ideas of Romanticism. As the result, most of his works contain the aspect of Romanticismsin the use of language as well as in developing the story. This research, tries to describe the Romantic aspects in William Wordsworth The Borderer, includingthe celebration of the nature, the importance of dream, and an interest toward social surrounding. In writing his work, Wordsworth not only describes thelandscape as it is, but he also adds his personal experience in exploring the countryside as well as in presenting his social critique. Wordsworth uses bothlandscape and dreams to criticize the society and to describe the possibility of good and bad in human nature. In consequence, The Borderers is not onlyconsidered as a common play but also a private writing about Wordsworth disappointment toward his social surrounding.
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Föllmer, Moritz. « Suicide and Crisis in Weimar Berlin ». Central European History 42, no 2 (15 mai 2009) : 195–221. http://dx.doi.org/10.1017/s0008938909000284.
Texte intégralRésumé :
The linkage of suicide and crisis was a prominent feature of Weimar Germany's cultural landscape. In films as different as Bertolt Brecht and Slatan Dudow'sKuhle Wampeor Walter Ruttmann'sBerlin: Symphony of a Big City, suicide appears as a reaction to the darker aspects of urban modernity: an individual's answer to capitalist exploitation or personal drama in an otherwise smoothly functioning metropolis. In a number of contemporary novels the possibility of a suicide is disturbingly present. In Vicki Baum'sGrand Hotel, one character asks himself, “My God, does everyone now have his tea cup of veronal ready?” Tales of suicide also surfaced in the tabloid press which presented them as human interest stories. Partisan papers supported their respective stances by tying individual actions to political narratives, a strategy pursued by both Nazis and Communists as well as liberal reformers. Even schools' reports on pupils who had taken their own lives and farewell notes themselves echoed a general feeling that suicide was a sign of the times.
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Raitt, Jill. « Beza, Guide for the Faithful Life ». Scottish Journal of Theology 39, no 1 (février 1986) : 83–107. http://dx.doi.org/10.1017/s0036930600044677.
Texte intégralRésumé :
To date, work on Theodore Beza has dealt with his life, his theology, his biblical works, some aspects of his political activity and treatises, and his contribution to literature. Beza as a pastor, as a shepherd of souls concerned for their growth in Christ, has not yet received attention. But it is through such a study that Beza's character becomes known to us. Beza was not merely a skilled diplomatist, an excellent poet, and a devoted professor of the Genevan Academy. As a theologian he defended Calvin's doctrine, developing it as he thought necessary in response to attack or because of a profound insight into the nature of word and sacrament. But at the root of these activities was Beza's own life of faith nourished by Scripture and the Lord's Supper and shared with his flock and his students through a drama, commentaries and sermons, two manuals of prayer, and letters of spiritual advice or consolation.
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Okoye, Chukwudi M. C., et Chibuike M. Abunike. « Cultural transposition and challenges of policy making : a review of select Nigerian television series ». UJAH : Unizik Journal of Arts and Humanities 20, no 3 (30 octobre 2020) : 119–32. http://dx.doi.org/10.4314/ujah.v20i3.7.
Texte intégralRésumé :
Cinematic entertainment, it is safe to say, cannot be wished away. Indeed, as a child of necessity, the film and by extension the Televised Drama-series industry have come a long way. However, African countries like Nigeria today continue to grapple with issues of Genre, Form, Cultural imperialism and so on. This hasconsequently raised questions on issues of policy making and realistic interpretation as expressed by film scholars and critics and as observed through the eyes of the regular viewer. Furthermore, the issues of cinematic language or style, raises another concern as this is capable of engendering different levels of psychological involvement or emotional attachment from the viewing audience. Thus, factors such as the social, political and even religious make up of the intended audience become imperative for the director who must fuse these thematic, artistic and technical aspects in order to truly engage his audience on the discourse of the moment. This research work finds that there appears to be a disconnect on how the average Nigeria Television drama series is packaged and presented from its original thematic content. The question of cultural transposition further emboldens this view as directors seem to infuse certain values as seen through dialogue, dressing, set and so on; and as such distract and in some cases prevent the audience from accessing the real message behindthe story. The researchers employed the qualitative research method which entails the analysis of text, online journals and handbooks for proper and objective content analysis and appreciation. The researchers also analyzed two Nigerian series; that is The Johnsons and Professor Johnbull. The study recommends that discussions in the area of Cultural transposition and policy making especially as it concerns the film medium should be intensified as this would not only encourage a more, Professional approach to Film and Television. Drama industry, but would allow for the enthronement of content above glamour as well as engender more believable and realistic story telling.
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Jones, Marc Owen. « Satire, social media and revolutionary cultural production in the Bahrain uprising : From utopian fiction to political satire ». Communication and the Public 2, no 2 (24 mai 2017) : 136–53. http://dx.doi.org/10.1177/2057047317706372.
Texte intégralRésumé :
Social media has permitted activists to subvert censorship and state-controlled media. As a result, it has become a key medium for experimenting with and/or creating genres previously marginalised or discouraged by the Bahraini government. This article explores aspects of revolutionary cultural production and creative resistance in Bahrain since the uprisings in 2011 and examines the role social media has played in shaping and defining it. Focusing on memes, parody accounts and the YouTube serial Baharna Drama, this article looks at the rise of political satire online and the evolution of satirical forms over the progression of the uprising as a dialectic with government policy and propaganda. This article argues that social media has facilitated the emergence of new forms of satire in Bahrain and has allowed activists to assert, to both local and global audiences and in different registers, the integrity of a desired revolutionary aesthetic by confronting state attempts to paint the revolution as schismatic and divisive. As such, 2011 marked a new turn in Bahrain’s satirical heritage. It also argues that the subversive nature of satire makes it a favourable genre with regard to revolutionary cultural production and the public sphere, yet acknowledges that satirical forms, as a response to authoritarian policies, are rarely devoid of the tutelage necessary to make them a truly revolutionary form of counter-narrative.
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Atamanchuk, Viktoriia. « Modelling of personage’s fictional consciousness in Myroslav Irchan’s play “Radium” as a means of dramatic conflict representation ». Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ : Fìlologìâ 15, no 26-27 (2022) : 20–27. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-20-27.
Texte intégralRésumé :
In the article, the specificity of the modelling of the personage’s fictional consciousness in M. Irchan’s drama “Radium” is determined by using a cognitive method, which makes it possible to trace the internal transformations of the characters through the prism of the analysis of the dramatic conflict. The relevance of the study is determined by the use of the tools of cognitive literary studies, represented by a significant number of works belonging to Ukrainian (Bovsunivska, 2010; Grebenyuk, 2016, etc.) and foreign (Fludernik, 2005, Nünning and Sommer, 2008, Palmer, 2004, etc.) researchers. The studies confirm the relevance of the application of literary cognitive science's achievements in studying drama and provide an opportunity to analyze the problems and poetics of a literary work in the context of the cognitive processes reflected by the playwright. The purpose of the article is to establish correlations between the ways of modelling the fictional consciousness of personages and the specifics of a dramatic conflictstructure, namely to determine the internal and external parameters of the personages’ fictional consciousness construction in accordance with their reactions to collisions embodied in specific episodes and situations of the drama “Radium”. The outlined problem is analyzed on the basis of the following interpretation of the concept of fictional consciousness: “the fictional consciousness of a personage appears in the form constructed by the author ability of the hero to perceive internal and external realities in complexes and systems of their correlations, which leads to the formation of a network of defined meanings, which determines the identity and actions of the personage within a fictional world" (Atamanchuk, 2020, p. 115). Modelling of the fictional consciousness of the personages in M. Irchan’s dramatic works is largely determined by the reproduction of various interactions in the social environment. The play “Radium” (“Poison”, 1928) has the characteristics of a social and political drama: the conflict of the literary work concerns important aspects of the protagonists’ lives; the opposition of characters has a different worldview basis (protection of workers’ and businessmen’ interests); the development of the action is aimed at revealing the hidden causes of the unsatisfactory situation of the workers and establishing justice. The conflict in the drama unfolds in the social plane and in the plane of the fictional consciousness of the characters. In the social plane, there is a struggle between the poor and the rich; in the worldview plane, there is a confrontation between personages with different levels of fictional consciousness and different systems of axiological coordinates. The level of fictional consciousness of the protagonists and their inner content in the drama “Radium” by M. Irchan is reconstructed on the basis of the externally motivated actions of the characters, their roles and positions in the unfolding of the dramatic conflict. In the drama, the fictional consciousness of the protagonists is outlined through their outwardly expressed reactions in the form of actions, stated aspirations, goals, interpersonal and social interactions, etc., to which elements of reflection are added, testifying to the partial ability of the heroes to detach themselves from situations and consider them in a detached perspective by understanding and rethinking or being involved in the process as active personages. Ideological determinants define the programming of the images of the characters. In the play “Radium” the fictional consciousness of the personages is depicted through the reproduction of internal tensions, which appear as indicators of external vicissitudes of fate, and the stylistics of expressionism determines the aggravation of the reflected processes in the fictional consciousness of the heroes.
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Yu-Hsing Chen, Jasmine. « Performing Chineseness Overseas ». Journal of Chinese Overseas 18, no 1 (18 mars 2022) : 90–117. http://dx.doi.org/10.1163/17932548-12341457.
Texte intégralRésumé :
Abstract This article analyzes how the photographs of overseas Chinese performing Peking opera projected the Chinese nationalism of the Kuomintang (KMT) across Taiwan (the Republic of China, ROC) and the Philippines during the Cold War. The analysis focuses on images in the periodical Drama and Art (1964–1972), examining theater and photography as mediums that worked together to (re)shape a ROC-approved vision of “Chineseness.” In addition to studying the circulation of these photographs, the discussion further looks into those aspects of the performances rendered invisible by the periodical, explicating how the Chineseness of overseas Chinese was produced and performed based on the KMT’s needs. Peking opera performance also functioned as a form of “emotional compensation” for Chinese-Filipino performers to act out fantasies of power while facing anti-Chinese sentiment in the Philippines. This article therefore argues that Peking opera was intricately linked to the conceptual construction of overseas Chineseness and its embodied practice.
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Day, Barbara. « Czech Theatre from the National Revival to the Present Day ». New Theatre Quarterly 2, no 7 (août 1986) : 250–74. http://dx.doi.org/10.1017/s0266464x00002220.
Texte intégralRésumé :
Our knowledge (or pervasive ignorance) of theatre in Czechoslovakia is. sadly, still shaped in part by its being perceived as a faraway country of which we know little – almost as little as when Chamberlain thus identified it at the time of Munich. But there is also the fact that its theatre has been distinguished less by the work of individual dramatists than through collective creation, through ‘small forms’ such as cabaret, and through scenography and other aspects of technical innovation. While fully analyzing such features of Czech theatre, Barbara Day relates them to the political and social conditions of a country in which various forms of repression and censorship have made it difficult for the all-too-identifiable dramatist to become spokesperson for a national theatre. Having herself lived in Czechoslovakia for several periods between 1965 and 1969, Barbara Day returned to the study of Czech theatre in 1980, when she read for a research degree at Bristol University, also collaborating with the University's drama department in staging a Czechoslovak Festival in Bristol during October 1985.