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Yan, Ping. « Research on the Application of the US Cornerstone Assessment Model proposed by National Core Art Curriculum Standards in 2014 in the Performance Evaluation of Music Literacy ». Journal of Education and Educational Research 5, no 3 (1 octobre 2023) : 163–65. http://dx.doi.org/10.54097/jeer.v5i3.13686.
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The United States issued the latest National Core Art Curriculum Standards in 2014, which address the issues of the overall design and planning of the five art courses of music, dance, drama, and media art. Compared to the 1994 edition of the National Standards for Art Education in the United States, it provides a new content for art courses. Essentially, it proposed cornerstone evaluation model. The American art curriculum has the following characteristics: focusing on artistic literacy and developing students' academic abilities, enabling students to achieve artistic success and achievement through creative practice, and a reverse curriculum design. These have certain enlightening effects on further improving the courses of music in China. This paper mainly discusses the implication of Cornerstone Assessment Model and its application in music teaching and evaluation process.
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Vysotska, Natalia. « Playing Upon Biographical Myths : William Shakespeare and Lesia Ukrainka as Characters in Contemporary Drama ». Kyiv-Mohyla Humanities Journal, no 8 (24 décembre 2021) : 103–19. http://dx.doi.org/10.18523/kmhj249192.2021-8.103-119.
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The article sets out to explore two plays by contemporary playwrights, one American (Don Nigro, Loves Labours Wonne), the other Ukrainian (Neda Nezhdana, And Still I will Betray You), focusing on William Shakespeare and Lesia Ukrainka, respectively, within the framework of “the author as character” subgenre of fictional (imaginative) biography. Accordingly, the article considers the correlation between the factual and the fi ctional as one of its foci of attention. Drawing upon a variety of theoretical approaches (Paul Franssen, Ton Hoenselaars, Ira Nadel, Aleid Fokkema, Michael MacKeon, Ina Shabert and others), the article summarizes the principal characteristics of “the author as character” subgenre and proceeds to discuss how they operate in the dramas under scrutiny. The analysis makes it abundantly clear that in Nigro’s and Nezhdana’s plays the balance between fact and fi ction is defi nitively tipped in favor of the latter. By centering their (quasi) biographical plays on highly mythologized artists of national standing, both dramatists aimed at demythologizing these cult fi gures, inevitably placing them, however, within new mythical plots combining a Neo-Romantic vision of the artist as demiurge, with a Neo-Baroque as well as fin de siècle apology of death and a postmodern denial of one objective reality.
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O.V., Halchuk. « MYTHOLOGICAL PARAMETERS OF THE BOXER PROTAGINIST ROCKY BALBOA ». South archive (philological sciences), no 84 (23 décembre 2020) : 152–57. http://dx.doi.org/10.32999/ksu2663-2691/2020-84-23.
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The purpose of this study is to characterize the image of the protagonist of the saga of the boxer Rocky through the prism of mythopoetics as a type of new cultural hero in the field of sports. Research methods are historical and cultural, mythopoetic, and comparative. Its application allows to outline the genetic connection of the image of the hero-boxer with the literary tradition; identify its main parameters as a mythohero; allocate the points of intersection of the author's myth with the myth of the American dream; consider the acquisition of the mytheme of Rocky the beginnings of the ideologeme.Results of the research: The genesis of the image goes back to the traditions of neo-romantic literature. The active appeal to a ritual and a myth, and a new wave of interest in sports as an embodiment of the principle of agony and, therefore, the popularity of sports drama, resulted in the mythologization of the boxer character in the culture of the 20th century. The distinct feature of the movie is a genre syncretism; it is a combination of sports drama, film-biography, action, and melodrama with typical for mytho-scenario archetypic situations. This determines the mass audience and the range of interpretation of Rocky’s story, formed as a mythological scenario. Rocky’s biography interweaves the facts of life of the real prototypes (boxers Rocky Marciano, Rocky Graziano), fictional characters (heroes of Hollywood sports movies), and autobiographical (Sylvester Stallone). The connection with sports as a ritual gives the film a mythological connotation. Simultaneously, it highlights the utilitarian aspect, inherent in the American tradition of Enlightenment and focused on the practical application of the context. The stories of Rocky’s boxing matches, and the stories of his relationships we perceive as “steps” of his initiation to a new cultural hero or a hero of mass culture. This occurs in a chronotope with characteristics of large (Philadelphia) and small (boxing ring) topos as places of professional and personal recognition. Rocky IV stands out among the films of the franchise; the protagonist embodies the athlete-defender of the national way of life that fights against a boxer from the “empire of evil”; and from the cult hero from of mass culture he turns into a mytho-ideology.Conclusions. The popular character of world cinema Rocky Balboa realizes the typical for the 20th century need for the new cultural heroes. Belonging to the two entertainment spheres – cinema and sports – the character created by Stallone gained immense popularity and a long screen “life”. Whereas Rocky’s assertion to the mytheme, and then ideologeme, led to a “fantastic” origin as a character, that is, a combination of biographies of real and fictional prototypes; connection of life scenario with rituals; correlation of moral and ethical beliefs of the hero with the ideas of the national myth of the American dream; his life trials as stages of initiation in the sacred chronotope.Key words: Rocky, mythohero, ritual, sports drama, chronotope, mytho-ideology. Мета цієї студії – схарактеризувати образ протагоніста кіносаги про боксера Роккі крізь призму міфопоетики як тип нового культурного героя із царини спорту. Методами дослідження є історико-культурний, міфопоетичний і порівняльний. Їх застосування дає можливість окреслити генетичний зв’язок образу героя-боксера з літературною традицією; визначити його основні параметри як міфогероя; вказати на точки перетину авторського міфу з міфом американської мрії; розглянути набуття міфологемою Роккі обрисів ідеологеми.Результати дослідження: з’ясовано, що ґенеза образу персонажа-спортсмена сягає неоромантичної традиції. Тоді як міфологізація кіногероя-боксера в культурі ХХ ст. зумовлена активним зверненням до ритуалу і міфу; новою хвилею інтересу до спортивних змагань як втіленням принципу агонічності; популярністю жанру спортивної кінодрами. Разом із тим масову глядацьку аудиторію і потужний інтерпретаційний потенціал персонажа Роккі забезпечував і жанровий синкретизм фільмів про нього: поєднання елементів спортивної драми, фільму-біографії, бойовика, мелодрами з типовими для міфосценарію архетипними ситуаціями. Визначено, що в екранній історії Роккі переплітаються факти з життя боксерів Р. Марчіано, Р. Граціано, героїв спортивних кінодрам і факти біографії самого С. Сталлоне. Зв’язок зі спортом як ритуалом надає фільмам про Роккі міфологічного підтексту і водночас окреслює його «утилітарний» аспект, притаманний американській просвітницькій традиції і орієнтований на практичне застосування переглянутого. Історії боксерських поєдинків кіногероя разом з історіями взаємин із «ближнім колом» сприймаються етапами ініціації на шляху до нового культурного героя у хронотопі, де великий (Філадельфія) і малий (ринг) топоси стають місцями здобуття ним професійного і особистісного визнання. Наголошено, що серед фільмів франшизи виокремлюється четвертий епізод, де Роккі втілює спортсмена-захисника національного способу життя, виступаючи проти боксера з «імперії зла». У такий спосіб герой масової свідомості переходить у міфоідеологему.Висновки. У культовому персонажеві світового кінематографу Роккі Бальбоа зреалізована характерна для людини маси ХХ ст. потреба в нових культурних героях. Завдяки приналежності до двох видовищних сфер – кіно і спорт – персонаж, створений С. Сталлоне, здобув величезну популярність і тривале екранне «життя». Тоді як утвердження Роккі у статусі пев-ної міфологеми, а потім й ідеологеми, зумовило «чудесне» походження як персонажа, тобто поєднання біографій реальних і фікційних прототипів; зв’язок життєвого сценарію з ритуалами; кореляцію морально-етичних переконань героя з ідеями національного міфу американської мрії; його життєві випробування як етапи ініціації в сакральному хронотопі.Ключові слова: фільм «Роккі», міфогерой, ритуал, спортивна драма, хронотоп, ідеологема.
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Vo, Nhon Van. « TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY ». Science and Technology Development Journal 13, no 1 (30 mars 2010) : 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.
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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.
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Guo, Ziyan. « On the Application of Regional Features in Contemporary Dance Drama ». Journal of Education and Educational Research 4, no 1 (26 juin 2023) : 62–64. http://dx.doi.org/10.54097/jeer.v4i1.10034.
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Regional characteristics are widely used in Chinese contemporary dance dramas. Different regional cultures create different regional characteristics. Integrating regional characteristics into Chinese contemporary dance dramas can make Chinese regional characteristics shine. This article analyzes the regional characteristics of the dance drama "Shawan Past" and explores the spiritual connotations expressed by the application of regional characteristics in contemporary dance dramas. The dance drama "The Past of Shawan" is a rare masterpiece in contemporary dance drama creation. Through stories, characters, music and props full of regional characteristics, the drama deeply reflects the unremitting efforts of Guangdong musicians in inheriting and developing national music and the spirit of persistent pursuit, as well as the national spirit of the Chinese nation, which is fearless, indomitable, unswerving and self-improvement. At the same time, it vividly portrays the personality traits of Lingnan people, such as their unwillingness to succumb and yearning for freedom to drift with the tide, their brave, tenacious, united national spirit, and strong patriotism
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Liu, Juan. « The Rebellion Origins and Spiritual Symbols of American Experimental Drama ». Yixin Publisher 2, no 2 (30 avril 2024) : 17–23. http://dx.doi.org/10.59825/jhss.2024.2.2.17.
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In the 1950s and 1960s, American theater gradually diversified. Following the impact of the Absurdist theater on American realism and expressionism, American theater also moved from modern theater to exploration of postmodern theater. The experimental theater on Broadway and Broadway posed a challenge to traditional American theater. Experimental drama begins to weaken the story and script in terms of content, and instead invests a large amount of artistic creativity in formal expression. By weakening the script, it emphasizes the relationship between observation and performance, sensory perception, and spiritual state in the field, which distinguishes it from the traditional theatrical stage. This article will start from the cultural trends in the United States and explore the spiritual origins of American experimental drama’s rebellion against tradition; Taking representative figures and their works in American experimental drama as examples, analyze the specific characteristics and trends in content and form of American experimental drama, and understand the postmodern spiritual symbols conveyed in American experimental drama; Deeply understand the essence of the spirit of American experimental drama and the philosophical discussions conveyed by the concept of experimental drama.
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Shen, Bingyan, et Kyunghoi Kim. « Cultural Characteristics and Social Values of Mongolian Folk Dance : Focusing on the Dance Drama “The Cavalry” ». Korean Society of Culture and Convergence 45, no 11 (30 novembre 2023) : 465–73. http://dx.doi.org/10.33645/cnc.2023.11.45.11.465.
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This study focused on the Mongolian national dance drama 'Cavalry' to trace the roots of Mongolian national culture and to examine its historical background. It analyzed the ethnic elements of the dance drama 'Cavalry' and reviewed the diversity of Mongolian culture as depicted in the drama. Finally, the study examined the value of Mongolian national dance culture as depicted in 'Cavalry' and its impact on society. The results revealed that Mongolian national dance goes beyond just being a form of dance, playing a significant role in the derived cultural values, contributing to the transmission and development of national culture. This research is expected to contribute to existing studies on the transmission and development of Mongolian national dance culture.
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Meer, Sarah. « Foreign Constellations in a National Drama : Becoming American in Boucicault's Belle Lamar ». Nineteenth Century Theatre and Film 39, no 2 (novembre 2012) : 19–38. http://dx.doi.org/10.7227/nctf.39.2.2.
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Lacko, Ivan. « National Drama, Theatre or Performance ? Ruin, Revision and Reform in American Theatre ». Scientia et Eruditio 3, no 3 (2019) : 76–83. http://dx.doi.org/10.31262/2585-8556/2019/3/3/76-83.
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McMurtry, Leslie. « Sounds Like Murder : Early 1980s Gothic on North American Radio ». Gothic Studies 24, no 2 (juillet 2022) : 151–66. http://dx.doi.org/10.3366/gothic.2022.0131.
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Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.
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Mitchell, Tony. « Colonial Discourse and the National Imaginary ». Canadian Theatre Review 74 (mars 1993) : 18–21. http://dx.doi.org/10.3138/ctr.74.004.
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Like Anglo-Australian popular music, which is often indistinguishable from its English or American counterparts, Anglo-Australian drama tends to have a familiarly white, post-colonial veneer which all too frequently simply covers a neocolonial core. As Stan Anson has stated: the rhetoric of postcolonialism assumes that anticolonialism has either overthrown imperialism or exhausted itself in the attempt. It has done neither. The world we live in is still manifestly colonial, although it might be better to call it neocolonial, in recognition of the fact that the crude annexations of the past have ben superseded by subtler impositions, of which the very notion of postcolonialism is one. (64)
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Radulović, Marko. « Anglo-American Drama Performed from 2005 to 2015 at the National Theatre in Belgrade ». Анали Филолошког факултета 31, no 2 (2019) : 145–60. http://dx.doi.org/10.18485/analiff.2019.31.2.8.
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Jian, GAO. « A Concerto Resonance Between the Chinese Zhuang Customs and the Topic of Poverty Alleviation : Exploring the Artistic Value and Spiritual Connotation of Zhuang Drama Huang Wenxiu ». Asia-Pacific Journal of Humanities and Social Sciences 2, no 4 (30 décembre 2022) : 165–72. http://dx.doi.org/10.53789/j.1653-0465.2022.0204.021.p.
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Huang Wenxiu is a Zhuang drama based on the poverty alleviation work of Huang Wenxiu, who is an outstanding selected graduate from Guangxi and also the first secretary of Baini village. The drama has not only humorous and emotional stage effects, strong romantic sentiment, and realistic critical spirit, but also typical characteristics of the era, vivid artistic images and a strong ethnic style. This drama embodies unique aesthetic values, vividly interpreting the values of the era and the spirit of Guangxi, highlighting the artistic consciousness and practical innovation of Zhuang drama art to express the era and eulogise it, and responding to the aesthetic expectations of the Zhuang ethnic group. Displaying the unique national spirit and the great spirit of the era in the narrative and stage presentation of the drama will also become a feasible path for the innovative development of Zhuang drama.
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Anggraini, Suhesti, et Wika Soviana Devi. « ANALISIS NASKAH DRAMA “BAPAK” KARYA BAMBANG SOELARTO MENGGUNAKAN PENDEKATAN OBJEKTIF ». Jurnal Komposisi 7, no 1 (8 mai 2023) : 15. http://dx.doi.org/10.53712/jk.v7i1.1860.
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Drama is a performing art where actors portray a story on stage for an audience. This research analyzes the drama "Bapak" by Bambang Soelarto, which tells the story of a father who loves his children and his country. The purpose of this descriptive study is to provide an accurate description of the facts, characteristics, and relationships between the phenomena being investigated. The drama is set in Yogyakarta in 1949 and follows a linear plot with four main characters: Bapak, Si Sulung, Si Bungsu, and Perwira. An objective approach is used to analyze the theme, plot, setting, characterization, and message in the drama. The theme of the "Bapak" drama is patriotism and the struggle for national independence. The message is that as a nation that loves our country, we must defend the independence of our homeland from the hands of the colonizers, even if it means sacrificing everything
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Wells, Brandy Thomas. « “The Curtain Rises on the Drama” ». Journal of Civil and Human Rights 8, no 2 (1 décembre 2022) : 34–66. http://dx.doi.org/10.5406/23784253.8.2.02.
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Abstract This article examines the National Council of Negro Women's (NCNW) participation in the founding conference of the United Nations. Moving beyond a focus on formal actors, it situates Mary McLeod Bethune, the organization's founder and president and the only African American woman to serve as an official representative, alongside her contemporaries on whom she relied. It argues that recovering the activism of Dorothy Boulding Ferebee, Eunice Hunton Carter, Sue Bailey Thurman, Anna Arnold Hedgeman, and a host of other Black women is to recognize a polity that, by all accounts, was not supposed to be present or active in San Francisco. These women's activities at the conference and in the decades that followed illuminate the broad contours of Black women's antisexist, antiracist, and anticolonial activism during the Second World War into the Cold War period. Akin to their efforts at the founding conference, this population's creative practices and cultural diplomacy reveal that the councilwomen maintained an enduring commitment to global freedom and the United Nations’ radical potential.
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Detsi-Diamanti, Zoe. « The Drama of Colonialism : National Identity and the Construction of theIndian/Otherin Early-19th-Century American Plays ». Prospects 30 (octobre 2005) : 87–110. http://dx.doi.org/10.1017/s036123330000199x.
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This essay offers insights into the American nation's persistent denial and deep-seated fears of its own inextricably multicultural identity at the time of the American Revolution and the first half of the 19th century. American imperialism, and perhaps this is true of all imperialisms, was founded upon a stable hierarchical relationship between “civilized” and “savage.” Rhetorically, indigenous tribespeople seem to have fitted Frantz Fanon's description of “the realotherwhom the white man perceived on the level of the body image, absolutely as the non-self – that is, the unidentifiable, the unassimilable” (161 n.). On the one hand, the imperialistic drive across the continent in the name of Manifest Destiny, and, on the other, the nation's wishful thinking to constrict the boundaries ofAmerican identityinto a fixed, pure and homogeneous body of values, unleashed the forces of cultural exclusion. In this essay, I try to show how the dominant white society's narcissistic view of itself as an empire operating under the auspices of Divine Providence actually resulted in a series of political acts of nativist violence. I have deliberately chosen to focus on the dramatic literature of the 19th century as a still largely unexplored territory of American literature in order to trace and expose the contradictory representations of the Native American as both historically absent and integral to the nation's conception of its own identity as the “center.”The palefaces are all around us, and they tread in blood. The blaze of our burning wigwams flashes awfully in the darkness of their path. We are destroyed — not vanquished; we are no more, yet we are forever.
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Starostina, Yuliya S. « The role of titles in forming linguistic axiological features in English drama discourse ». Verhnevolzhski Philological Bulletin 4, no 27 (2021) : 165–75. http://dx.doi.org/10.20323/2499-9679-2021-4-27-165-175.
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The article is devoted to studying the nominative paradigm of English drama from the standpoint of linguistic axiology as a mainstream scientific direction focusing on verbal representation of values and evaluation. The aim of the study is to determine the variable linguo-axiological status of titles in British and American drama discourse, with subsequent systematization, aimed at clarifying the format and the extent of their participation in the value-evaluation manifestation. The research material is an equally proportional corpus of modern British and American play titles with a total scope of 600 units. The method of linguo-axiological interpretation has been used as the key method, which implies value-evaluation parameterization of the discourse fragment while taking into account the characteristics of the broad discourse context. The research has recorded that titles contribute to the formation of linguistic axiological potential in English drama discourse. The classification of titles has been developed in accordance with the gradual nature of their value and evaluative marking. The article also presents the results of a comparative analysis of British and American drama titles, which help identify the zone of intersection of nationally marked linguoaxiospheres. The author concludes that with the help of titles the playwright can carry out both an explicit accentuation of value dominants and an implicit reference to them; some of the titles can act as a «linguo-axiological focus,» appealing to the recipients' background knowledge of the values relevant within a particular linguocultural community. The study proves the validity of linguoaxiological approach to the study of titles as significant structural blocks of English drama discourse, thus, opening up new prospects for further scientific investigation of the subject area.
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Richards, Jeffrey H. « Politics, Playhouse, and Repertoire in Philadelphia, 1808 ». Theatre Survey 46, no 2 (25 octobre 2005) : 199–224. http://dx.doi.org/10.1017/s004055740500013x.
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In theatre and drama histories, the politics of the American stage has most often been judged by the litmus test of nationalism, primarily in the “rise” of American-authored drama set in America, the development of American character types, and the appearance of American-born actors on the stages of the early United States. To uncover in the old playbills the mention of a performance of Royall Tyler's The Contrast, to celebrate the development of the stage Yankee, or to focus on Edwin Forrest's muscular rant in The Gladiator is to score a palpable hit for national theatre. Given the scarcity of American texts before the War of 1812, this search for national needles in the (British) theatrical haystack is understandable. But the politics reflected in the theatre in early America is far more complex than traditional theatre histories have acknowledged. Fortunately, there are signs of a new historiography at work. Heather Nathans's recent history of the postrevolutionary playhouses (to 1800) in Boston, New York, and Philadelphia, for instance, uncovers a web of economic and social relationships among the shareholders in the various theatres, which shows that simple party definition hardly accounts for a clear sense of who supports the stage and who does not. Examined more closely than as buildings in which to launch “Jonathan,” American theatres reveal their own traditions for handling topical material, a particularly thorny problem for cultural spaces dominated by British plays and actors. In other words, beyond identifying stage Yankees or following Forrest, finding the political in the theatrical may require other strategies of reading in order to determine the full range of interaction between the political and theatrical spheres.
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Russell, Richard Rankin. « Deprovincializing Brian Friel's Drama in America, 2009 and 2014 : Dancing at Lughnasa in Fort Myers, Florida, and Faith Healer in Houston, Texas ». Irish University Review 45, no 1 (mai 2015) : 103–16. http://dx.doi.org/10.3366/iur.2015.0154.
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While American regional theatre has flourished for decades, hardly any critics with a national profile pay attention to it, but theatre critic Terry Teachout has recently argued that criticism must catch up with this ‘deprovincialized’ drama, drawing upon his viewing of Brian Friel's Dancing at Lughnasa in a memorable 2009 production by the Florida Repertory Theatre in Fort Myers. I tentatively explore through that production of Lughnasa what implications its staging in a locale with a strong Hispanic concentration might have for American theatre and for its growing immigrant population as the United States becomes ever more divided, yet still idealizes plurality and immigration. I then assess the Stark Naked Theatre Company's stirring 2014 production of Faith Healer in Houston, Texas. Actors and local critics mostly neglected Irish aspects of the play – unlike their supposed more enlightened New York critics and audiences, who tend to read Irish drama through outmoded stereotypes – and instead privileged its spiritual qualities and its potential for showcasing theatre as an art form.
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TEMPLETON, PETER. « On the Couch : The Alpha Male in Therapy in Contemporary American Television Drama ». Journal of American Studies 53, no 3 (23 janvier 2018) : 799–818. http://dx.doi.org/10.1017/s0021875817001815.
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As ideas of masculinity have changed in the United States, so too has the presentation of men on television. This article, then, explores a range of characters that have characteristics associated with the alpha male in the unusually vulnerable position of the patient, in a variety of programmes from generic detective dramas through to critically acclaimed productions, to analyse how programme makers navigate questions of masculinity against the cultural backdrop of the most recent fin de siècle. It also demonstrates a range of responses by programme makers, including some that question hypermasculine tendencies only to ultimately reinforce them.
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Lindquist, Danille Christensen. « "Locating" the Nation : Football Game Day and American Dreams in Central Ohio ». Journal of American Folklore 119, no 474 (1 octobre 2006) : 444–88. http://dx.doi.org/10.2307/4137650.
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Abstract This article suggests how abstract ideas like "nation" are lived and situated by examining recurring features ofAmerican football as it is experienced by spectators in central Ohio. Football-an institutionalized drama formed by its inventors to address questions of national identity and social relations-is embedded within the generically complex event known as "game day" and is framed by ongoing social practices that stem from the sport’s competitive structure. As a multifaceted event grounded in both historical contexts and live performances, this spectator sport provides an ideal case for highlighting connections among form, ideology, and identity. This article argues that as a celebratory complex, Ohio State University football enacts aspects of national identity (including tropes of competitive opportunity, mechanized teamwork, and homeland defense) in terms of shared experiences and expressions grounded in local affiliations. In particular, the much-anticipated and ritually structured performances of the OSUMarching Band guide fans in endorsing "America" and its attendant ideologies while simultaneously emphasizing local difference.
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Gross, Alan G. « When Nations Remember : Hiroshima in the American Consciousness and Conscience ». Prospects 27 (octobre 2002) : 467–88. http://dx.doi.org/10.1017/s0361233300001290.
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Routinely represented by the mushroom cloud that arose from the city immediately subsequent to the atomic attack, Hiroshima has a central place in America's collective memory; it is, to borrow historian Pierre Nora's pregnant phrase, an American lieu de mémoire. In the American psyche, Hiroshima is not a place; it is an event of a special kind, one that is “immediately invested with symbolic significance” (Nora, 18). Even as the attack unfolded, even as the bomb left the bomb-bay doors, Hiroshima was “being commemorated in advance,” an event that was transformed, as it occurred, into a denning moment in national identity (18). Did the mushroom cloud mark an American triumph, the last act in the drama of World War II, or did it mask the inception of a new era for which America must take prime responsibility, an era of nuclear terror?
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Eliasberg, Galina. « The Russian-Jewish New York, the Balfour Declaration and the Revolution in Russia in Leon Kobrin's Play Back to Your People ! » Judaic-Slavic Journal, no 1 (2018) : 25–43. http://dx.doi.org/10.31168/2658-3364.2018.1.2.2.
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The article analyzes Kobrin’s play Back to Your People! and the Yiddish press reviews of its performances in New York at Boris Thomashevsky’s Peoples Theater in December 1917 by A. Cahan, I. Vartsman, B. Gorin and others. Critics defined the genre of Kobrin’s play variously as “national drama”, “sentimental melodrama”, “modern sketch” and “tendentious drama” but unanimously noted that it was a direct response to the landmark events of 1917, including the Russian Revolution and the Balfour Declaration. These events triggered nationalist feelings and had a significant impact on Jewish socialists like Kobrin, whose writing and political views were strongly influenced by Russian populism. The play depicted a dramatic clash between two cultural models: an American banker as a “self-made man” and the Russian-Jewish intellectual and Zionist leader. It reflected the issues of inter-generational conflicts, Jewish assimilation and anti-Semitism in America. Kobrin portrayed representatives of conservative and liberal circles in American society and demonstrated different attitudes towards the tragedy experienced by European Jewry during the First World War. The depiction of the younger generation allowed Kobrin to show the American university milieu, the work of the settlement house movement and the educational institutions for the Jewish immigrants. The play touched upon the social, intellectual and political life on the Lower East Side.
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Rudy, Rudy. « THE DEPICTION OF HOMOSEXUALITY IN AMERICAN MOVIES ». Jurnal Humaniora 28, no 1 (4 juin 2016) : 59. http://dx.doi.org/10.22146/jh.v28i1.11502.
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This study focuses on the depiction of homosexuality in American films. It is intended to identify the images of gays depicted in American films as well as the characteristics of American gay movies. It incorporates library research by applying an analytical descriptive approach in analyzing the data. The symbol and reflective theory is used to analyze 18 American movies and 14 gay films from other countries in the early 2000s. It shows that gay films can attract audiences by describing gays as the objects for laughs; gays revealing their sexual identities; sexual scenes of gays; masculine gay men; and violence in gay life. They appear in genres like drama, comedy, romance, detective, western, and horror/mystery with two images of gay people shown in American gay movies; they are the portrait of gays as a minority and the pessimism. However, it also shows that some American gay films picture good gay life, happy gay couples, gay marriage, etc.
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Newbury, Michael. « Polite Gaiety : Cultural Hierarchy and Musical Comedy, 1893-1904 ». Journal of the Gilded Age and Progressive Era 4, no 4 (octobre 2005) : 381–407. http://dx.doi.org/10.1017/s1537781400002760.
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In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”
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Jones, Leslie Kay. « #BlackLivesMatter : An Analysis of the Movement as Social Drama ». Humanity & ; Society 44, no 1 (28 mars 2019) : 92–110. http://dx.doi.org/10.1177/0160597619832049.
Texte intégralRésumé :
Scholars agree that the United States is experiencing a new black civil and human rights movement called #BlackLivesMatter and that the Internet is pivotal to that movement. Protests in Ferguson, Missouri, and in Baltimore, Maryland, dominated national attention for months through 2014 and 2015. Protesters have successfully gained the attention of elite power brokers, a necessary step in the social movement process. #BlackLivesMatter has many insights to provide about mobilization, if researchers take black American discursive power and intellectual production more seriously as subjects of analysis. This article argues that a dramaturgy framework reveals important meaning making that occurs on the periphery of a social movement. In this periphery, my analysis shows that black social media publics are harbingers of racial progress. Introducing the concept of a Greek Chorus to the dramaturgy framework better clarifies the role that Twitter plays in the movement as a public space where outside observers negotiate their own meaning making surrounding the movement’s claims and strategies. Conceptualizing movement mechanics in this way provides a clearer understanding of the importance of digital media in the contemporary black civil rights movement without relying on technological determinism, reducing social media to a structural component of the movement, or undermining the importance of physicality to protest.
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Starostina, Julia S. « Dualistic Character of Evaluative Utterances in English Drama Discourse ». Вестник Пермского университета. Российская и зарубежная филология 13, no 4 (2021) : 63–71. http://dx.doi.org/10.17072/2073-6681-2021-4-63-71.
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The article is devoted to the problem of interaction between emotional and rational aspects of evaluative utterances within English drama discourse. The aim of the study is to analyze the dualistic nature of evaluative messages and develop a set of demarcation criteria which would contribute to their classification. The material for the analysis is a sample of 2,000 evaluative utterances presented in the plays by contemporary British and American playwrights. The study was carried out in line with the linguoaxiological approach and employed the corresponding methods. On the basis of linguoaxiological interpretation, the following criteria were developed: 1) the hierarchical relationship of subjective and objective factors in the evaluative utterance; 2) the level of spontaneity and situational awareness; 3) the degree of addresser-addressee pragmatic interaction. Linguistic characteristics were mapped to determine the communicative specifics of the designated types of evaluation in a stylized dialogue. The typical lexical means of evaluative modulation were identified, as well as syntactic models which act as the nuclear characteristics of emotional-evaluative and rational-evaluative messages at the linguistic level; phonographic and enantiosemic means which determine the emotional orientation of a judgment were analyzed. The presented statistical data reflect the frequency ratio of positive and negative evaluative utterances according to the superiority of the emotional evaluative or rational evaluative aspect. It is concluded that predominance of the relevant side in the evaluative utterance determines the complex verbal representation of the evaluative attitude and generates the pragmatics of evaluative utterances as reactions or opinions within stylized communication in English.
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Smith, Karina. « From Politics to Therapy : Sistren Theatre Collective's Theatre and Outreach Work in Jamaica ». New Theatre Quarterly 29, no 1 (février 2013) : 87–97. http://dx.doi.org/10.1017/s0266464x13000080.
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Sistren Theatre Collective has been producing theatre and working with community groups in Jamaica for the last thirty-five years. Over the last decade the company has changed its profile to include male drama specialists and social workers in its team. This has come about due to new funding arrangement with the Jamaican Ministry of National Security, which won a large grant from the Inter-American Development Bank to establish the Citizen Security and Justice Programme (CSJP). The CSJP has a community outreach component in which Sistren has been employed to run socio-drama workshops and provide counselling to residents in Kingston's ‘garrison’ communities. In this article Karina Smith compares Sistren's theatre and outreach work under the CSJP programme with the group's previous theatre productions and workshops, devised when it was the leading women's popular theatre company and Women in Development non-government organization in the Caribbean region. Karina Smith is a Senior Lecturer in Literary and Gender Studies in the College of the Arts at Victoria University, Melbourne, Australia. She has published on Sistren Theatre Collective's work in Modern Drama, Theatre Research International, and in Suzanne Diamond's Compelling Confessions: the Politics of Personal Disclosure (2011). Her monograph on the Caribbean community's oral histories of migration to Victoria is forthcoming from Breakdown Press.
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Nickolayeva, Iryna. « NATIONAL AND CULTURAL PECULIARITIES OF PHONETICS IN THE AMERICAN ENGLISH ». Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no 9(77) (30 janvier 2020) : 16–18. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-16-18.
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The article shows the establishment of the territorial norms on the level of phonetics in the American English. It analyses their national and cultural peculiarities. The studied and presented material shows that the phonetic characteristics of the American national version of the English language have their own territorial national and cultural characteristics. The article deals with the issue of phonetic peculiarities of the dialectic language as an ideal of the signs of the territorial jurisdiction of native speakers in terms of interpersonal communication. The main causes of regional dialects are analyzed. Separately, it is noted that the phonetic characteristics of the American national version of English in the South-West of the United States have their own regional identity. It is underlined that distinctive phonetic features of the English language in the United States include not only dialect phenomena, but they are also characteristic of the literary language. The assessment of the same linguistic facts from the point of view of American and British norms is indicative in this respect. In this article, it is discussed in detail the phonetic features of American English compared to British, officially recognized in the world community the main. The American version is of the greatest interest in comparison with Canadian, Australian and New Zealand English, because, for various reasons, it has undergone a large number of changes in all aspects of the language, including phonetic. The article emphasizes that the United States is developing its own territorial phonetic norms.
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Nam, JungAe. « The Jewishness in Characters, Themes, and Literary Styles of Arthur Miller's Plays ». Korean Society of Culture and Convergence 45, no 12 (31 décembre 2023) : 985–97. http://dx.doi.org/10.33645/cnc.2023.12.45.12.985.
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This study aims to identify Jewish characteristics in Arthur Miller's eight major plays, focusing on their characters, themes, and writing styles. As a Jewish American immigrant, Miller has been praised for portraying the American ego or culture. Until now, criticism of Miller's plays has taken his imperfect American self for granted as the standard of universality. Critics analyzed only the form and content revealed on the surface of the plays, which have become ambiguous due to the author's double identities. Miller presents a typical American middle-class character on the surface of his works but, in deep structure, projects the collective Jewish ideology and prophetic discourses oriented toward the Old Testament. This study redefines the propositions of 'Modern Tragedy,' 'Common Man,' and 'Whole Social Drama' that Miller claimed to emphasize the universality of his works. The analysis of Miller's plays' characters, themes, and writing styles reveals that he reflects his Jewish identity more strongly than his American ego.
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Bartels, Larry M. « Panel Effects in the American National Election Studies ». Political Analysis 8, no 1 (1999) : 1–20. http://dx.doi.org/10.1093/oxfordjournals.pan.a029802.
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Parallel panel and fresh cross-section samples in recent National Election Study surveys provide valuable leverage for assessing the magnitude of biases in statistical analyses of survey data due to panel attrition and panel conditioning. My analyses employing a variety of typical regression models suggest that substantial panel biases are likely to be fairly rare in these data, even when panel and cross-section respondents have markedly different characteristics. However, two of the dependent variables considered here—campaign interest and turnout—do appear to be sufficiently sensitive to panel effects to warrant significant discounting or adjustment of panel data. I propose adjustments for panel effects in both cross-sectional and dynamic analyses, based upon variants of the “fractional pooling” (Bartels 1996) and “two-stage auxiliary instrumental variables” (Franklin 1990) methods.
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Whitley, D. M., et E. R. Fuller-Thomson. « AFRICAN AMERICAN CUSTODIAL GRANDPARENTS : A NATIONAL PROFILE OF HEALTH CHARACTERISTICS AND BEHAVIORS ». Innovation in Aging 1, suppl_1 (30 juin 2017) : 122. http://dx.doi.org/10.1093/geroni/igx004.500.
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Skinner, Nicholas F., Lynda Hutchinson, Andrea Lukenda, Gillian Drake et Jocelyn Boucher. « National Personality Characteristics : II. Adaption-Innovation in Canadian, American, and British Samples ». Psychological Reports 92, no 1 (février 2003) : 21–22. http://dx.doi.org/10.2466/pr0.2003.92.1.21.
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On the Kirton Adaption-Innovation Inventory 1,106 Canadians scored as more adaptive than American and British standardization samples. Means for Canadian females and males were congruent with those in national samples from six other countries.
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Ramlan, Ramlan. « Drama-Based Mathematics Learning Model For Character Building Of Students In Elementary School ». Jurnal Indonesia Sosial Teknologi 4, no 10 (25 octobre 2023) : 1741–48. http://dx.doi.org/10.59141/jist.v4i10.753.
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Facing the problem of the Indonesian nation which is being hit by a 'moral crisis', the concept of the national education curriculum contains a lot of character education concepts. This is a new challenge so that teachers immediately change the 'mindset' that originally the purpose of teaching to produce intelligent humans, to having to prioritize teaching to form character. Mathematical characteristics are abstract sciences, but the process of understanding must be conveyed through concrete media. In addition, the psychological development of elementary school children is in the urge to want to play and do fun activities. This research aims to get findings of mathematics learning models in elementary schools to form character. This drama-based learning model has been found with learning stages through the planning, implementation, and evaluation stages. At the planning stage, the teacher prepares a drama script themeonut daily life events related to mathematical topics and character value competencies to be developed. At the implementation stage, students role-play according to the theme of the drama script. As for the evaluation stage, the teacher conducts assessments during learning or student activities.
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He, Chengzhou. « ‘The Most Traditional and the Most Pioneering’ : New Concept Kun Opera ». New Theatre Quarterly 36, no 3 (août 2020) : 223–36. http://dx.doi.org/10.1017/s0266464x20000469.
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Featuring hybridity, transgression, and improvisation, New Concept Kun Opera refers to experimental performances by Ke Jun and other Kun Opera performers since the beginning of the twenty-first century. From telling the ancient stories to expressing the modern self, this new form marks the awakening of the performer’s subjectivity and develops a contemporary outlook by rebuilding close connections between Kun Opera and modern life. A synthetic use of intermedial resources contributes to its appeal to today’s audiences. Its experimentation succeeds in maintaining the most traditional while exploring the most pioneering, thus providing Kun Opera with the potential for renewal, as well as an alternative future for Chinese opera in general. Chengzhou He is a Yangtze River Distinguished Professor of English and Drama at the School of Foreign Studies and the School of Arts at Nanjing University. He has published widely on Western drama, intercultural theatre, and critical theory in both Chinese and English. Currently, he is the principal investigator for a national key-research project, ‘Theories in European and American Theatre and Performance Studies’.
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Kraeutler, Matthew J., John B. Schrock et Eric C. McCarty. « Conference Presentation Characteristics of Studies Published in The American Journal of Sports Medicine ». American Journal of Sports Medicine 44, no 7 (11 avril 2016) : 1852–56. http://dx.doi.org/10.1177/0363546516639923.
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Background: Previous studies have determined the percentage of studies presented at national orthopaedic surgery meetings that are eventually published in peer-reviewed journals. Purpose: To determine the proportion of articles in The American Journal of Sports Medicine ( AJSM) that are presented at national or international meetings. Study Design: Descriptive epidemiology study. Methods: The AJSM archive of 2014 online issues was searched. All original research articles were searched for corresponding presentations as listed at the beginning of the manuscript. An email was sent to the corresponding author of all articles, including those with a presentation listed. Corresponding authors were asked if the published study was presented at a national or international meeting and, if so, at which meeting and year the study was presented. If the study was not presented at a national meeting, the corresponding author was asked why this was the case. Results: A total of 315 articles met the inclusion criteria. Presentation information was obtained for 264 of these articles (84%). Of these 264 studies, 218 (83%) were presented at national or international conferences. A total of 341 presentations were listed, including 144 (42%) at international conferences. The average time from first presentation to publication was 12.9 months. Seventy-two studies (72/218, 33%) were presented at more than 1 meeting. Of those studies presented at more than 1 meeting, the average number of presentations was 2.7 (range, 2-6). The most common conferences at which AJSM-published studies were presented were the American Orthopaedic Society for Sports Medicine (AOSSM) Annual Meeting (n = 56) and the American Academy of Orthopaedic Surgeons (AAOS) Annual Meeting (n = 43). Seven authors stated that their published studies were not presented because the study was not accepted for presentation at a national meeting. Conclusion: A high proportion of studies accepted for publication in AJSM are presented at national and international meetings. AOSSM and AAOS Annual Meetings are the most common conferences at which these studies are presented, although international conferences account for a substantial proportion of AJSM-published study presentations.
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Pleshkova, D. S. « Unveiling the Language Techniques Behind the Pragmatic Meaning of Sarcasm in American Confrontational Film Discourse ». Professional Discourse & ; Communication 5, no 1 (17 mars 2023) : 62–73. http://dx.doi.org/10.24833/2687-0126-2023-5-1-62-73.
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This article delves into the concept of sarcasm in confrontational American film discourse, examining its primary functions and characteristics. Specifically, the study focuses on how sarcastic statements are used in American television series to heighten emotional engagement and aesthetic appeal. The defining features of sarcasm, namely implicitness and double meaning, are also discussed. The analysis is conducted through a case study of the modern American drama series “This is Us”, which highlights the key mechanisms utilized to achieve the pragmatic effect of sarcasm, including intonation, metaphors, and repetitions. Additionally, the article examines the work of translators, their professional challenges, and the methods and techniques employed to convey the semantic content of sarcastic messages in the target language. The findings suggest that translational means such as literal translation, ellipses, and equivalent translation are effective in transferring the intended sarcasm across languages. Overall, this study provides insight into the language techniques and translational strategies involved in the implementation of sarcasm in confrontational American film discourse.
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Sirazitdinov, Zinnur, et Tashpolot Sadykov. « ON THE CREATION OF NATIONAL CORPUS OF TURKIC LANGUAGES ». Alatoo Academic Studies 2021, no 2 (30 juin 2021) : 245–55. http://dx.doi.org/10.17015/aas.2021.212.28.
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The article examines the existing projects of national corpus of texts on the Internet, reveals the characteristics and principles of their development, highlights the criteria for their volume, representativeness, balance and completeness, and distinguishes the features of their difference from ordinary corpus. Based on the analysis of existing corpus projects, the authors propose the task of creating a national corpus of Turkic languages. In particular, using the example of the Bashkir language, the concept of creating a national corpus is revealed and the stages of its implementation are determined. It is considered expedient uniting all the existing text and the phonetic corpora of a given language under a single hull manager, creating additional subcorpus of drama, educational and scientific, officially-business texts, subcorpus of arbitrary colloquial speech and literary language, in order to bring the total volume of the considered cases in 100 million tokens, which is one of the criteria of the national corpus.
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Pears, Emily, et Emily Sydnor. « The Correlates and Characteristics of American State Identity ». Publius : The Journal of Federalism 52, no 2 (15 février 2022) : 173–200. http://dx.doi.org/10.1093/publius/pjac004.
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Abstract The Federalist Papers highlight the role that citizens’ state identities will play in American federalism, yet some scholars argue that contemporary Americans have shed their state attachments. Drawing on data from a nationally representative survey, we demonstrate that individuals still hold dual national and state identities, and that the likelihood that one will feel attached to their state depends on a variety of individual characteristics such as education, identification with a marginalized or minority community within the state, and one’s ideological “fit” with the partisan majority in their state, leading to significant variance from one citizen to the next. Additionally, we find that this state identity is correlated with political attitudes, particularly trust in and assessment of state elected officials. Individuals who hold stronger state identities are also more likely to trust their state government. These findings have implications for our understanding of the dynamics of federalism in modern U.S. politics.
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Kornev, V. A., et O. V. Murashkina. « The Gaucho Archetype in the Artistic Culture of Latin America ». Язык и текст 11, no 1 (8 avril 2024) : 65–73. http://dx.doi.org/10.17759/langt.2024110106.
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<p>The article examines the role of representatives of a specific ethnic group of inhabitants of the South American steppes-Pampas — pastoralists-Gaucho nomads in the formation, formation and development of national Spanish-American literature based on its genres such as oral folk art, lyrical and epic poetry, drama, realistic and psychological novel. The existence of this ethnic type can be traced back to 1775, but the process of turning a Spanish shepherd into a half-breed Gaucho is still largely unclear. The formation of Gaucho literature can serve as an example of the emergence of folk literature in the countries of Spanish America. Gaucho poetry reached the culmination point of its development with «Martin Fierro» by H. Hernandez, however, it did not take much time for the gaucho theme to turn into prose: drama, short story and novel. The transition from poetry to prose, as well as the transition from oral to written poetry, did not take place immediately. Gaucho poetry continued to develop and gained prominence for the reworking of the legend of Santos Vega, but new forms of Gaucho literature were already supplanting poetry. The novel about the gaucho arose from a primitive popular print, but the popularity gained by the very first attempts to create a novel about the gaucho testified to the prospects of this genre, which soon attracted the attention of truly talented authors. Thus, the Gaucho gave his native land a regional literature, which became a model of cultural and spiritual independence for all countries of Spanish America. Having formed a whole trend in literature, the Gaucho archetype has left a noticeable mark in other forms of art and, perhaps, will serve as an example to national forces called upon to make the transition from imitation of European models to literary Americanism.</p>
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JACKSON, ROBERT A., et THOMAS M. CARSEY. « Presidential Voting Across the American States ». American Politics Quarterly 27, no 4 (octobre 1999) : 379–402. http://dx.doi.org/10.1177/1532673x99027004001.
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In this article, we examine the variation in the importance of partisanship and ideology in structuring citizens' presidential vote choice across the United States. We use CBS/ New York Times Exit Polls from 18 states in 1984 and 24 states in 1988, along with the national polls from each year. Underlying national survey-based examinations of presidential voting (e.g., those based on the American National Election Studies) is the assumption that presidential voting “looks and works the same” across the United States. However, our results indicate marked variation in the influence of both partisanship and ideology on presidential vote choice across state electorates. Political characteristics of state electorates (e.g., mass polarization and mass liberalism) provide some insight into these differences. Furthermore, we discover some continuity from 1984 to 1988 within states in the nature of influences on their electorates' presidential voting.
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Zhang, Saiyao, et Yu Sun. « A Study of Gender Differences in English from the Perspective of Sociolinguistics ». International Journal of Languages, Literature and Linguistics 8, no 1 (mars 2022) : 36–39. http://dx.doi.org/10.18178/ijlll.2022.8.1.319.
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As we all know, there are certain differences between female and male in physiology and psychology, but for a long time, the language characteristics and differences between female and male have been rarely known. Until the rise of the American women's Liberation Movement in the last century, linguists began to pay more attention to the differences in language between different genders. In this paper, the author selects 22 episodes of the first season of the American drama How I Met Your Mother and arranges the conversations among them. Then the author studies the language differences of female and male from five aspects: adjectives, hedges, interrogative sentences and exclamatory sentences and topics. The author hopes that this study can provide empirical help for the study of language differences between female and male.
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Gemzøe, Lynge Stegger. « Language, European identity and stereotypical diversity in trans-European crime dramas ». Journal of European Popular Culture 12, no 2 (1 octobre 2021) : 135–47. http://dx.doi.org/10.1386/jepc_00034_1.
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Interrogating two transnational television dramas – Crossing Lines (2013, 2014, 2015, the first season) and The Team (2015, 2018, the second season) – and employing critical, textual and production perspectives, this article investigates representations of national and European identity in the series. In this article, I argue that the series on the one hand picture a diverse Europe uniting when challenges arise, embodying the dominant European narrative of ‘unity in diversity’ and, seen from a certain point of view, facilitate a mediated cultural encounter. On the other hand, the diversity depicted is based on the use of a wide range of well-known cultural stereotypes that may be familiar to the audience, and which may facilitate smooth storytelling, but that does little to broaden the actual cultural knowledge and understanding of the viewer, resulting in stereotypical diversity. The series have different strategies regarding representations of nation states, cultures and languages. The implications of these strategies are analysed. Common ground is often found in ‘American’ crime drama genre tropes associated with a team of often-antagonistic specialists who are put together to solve a problem, including such iconic US series as The A-Team (1983–87), the CSI: Crime Scene Investigation franchise (2000–15) and Scorpion (2014, 2015, 2016, 2017). The contribution ultimately finds that meaningful mediated cultural encounters are a challenge to transnational television drama, and that when it comes to television, ‘European’ and ‘transnational’ means little without ‘national’.
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Salisbury, Lutishoor, Abayomi Omolewu et Jeremy J. Smith. « Abstracts Presented at the American Chemical Society National Meetings : Analysis of Their Characteristics ». Science & ; Technology Libraries 38, no 3 (12 juin 2019) : 334–48. http://dx.doi.org/10.1080/0194262x.2019.1620150.
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Fuller-Thomson, E., et M. Minkler. « African American Grandparents Raising Grandchildren : A National Profile of Demographic and Health Characteristics ». Health & ; Social Work 25, no 2 (1 mai 2000) : 109–18. http://dx.doi.org/10.1093/hsw/25.2.109.
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YILMAZ, Tuğba. « UZBEKISTAN AND NATIONAL IDENTITY IN THE POEMS OF HURSHID DEVRAN ». SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no 34 (15 novembre 2022) : 67–74. http://dx.doi.org/10.31567/ssd.793.
Texte intégralRésumé :
Hurshid Devran was born on January 20, 1952 in Samarkand, Uzbekistan. H. Devran; he became one of the leading poets and writers of Uzbek Literature with his works written in epic, poetry, drama, theatre, story and translation. In the works he wrote in the field of poetry, homeland, nation, flag, language, independence, historical figures, poet, poetry, spring, autumn, nature etc. themes are often included. He frequently emphasized the historical, geographical and cultural characteristics of Uzbekistan in order to create national consciousness among the Uzbek people in his works on Uzbek Literature of the Independence Period. However, Kashgarli Mahmud, Alisher Nava’i, Zahiriddin Muhammed Babur, Musa Aybek, Maksud Shehzada, Mirtemir, Osman Nasir, Abdülhamid Süleyman Cholpan etc. He mainly gave place to historical and literary figures in his poems. In the study, the concepts of Uzbekistan and national identity that Hurshid Devran used in his poems about homeland, nation, language, flag and independence were evaluated. In addition, a detailed analysis of H. Devran’s poems in which he describes the cultural characteristics of the geography he lived in and historical cities was made. At the same time, the poet's works were analyzed in terms of literary theories and stylistic features. Based on this study, detailed information about the life of the artist and the structure of the society he lived in was obtained.
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S. Belyaeva, Galina, Valeriy P. Belyaev, Bela B. Bidova, Arina A. Dyumina et Ivan N. Kuksin. « PECULIARITIES OF NATIONAL INTERESTS INSTITUTIONALIZATION IN THE NORTH AMERICAN TRADITION : HISTORY AND MODERNITY ». Humanities & ; Social Sciences Reviews 7, no 4 (3 octobre 2019) : 805–8. http://dx.doi.org/10.18510/hssr.2019.74104.
Texte intégralRésumé :
Purpose: This article is devoted to the analysis of characteristics of national interests’ institutionalization in the North American tradition, namely the evolution of their legal consolidation and the practice of implementation in modern conditions.
Methodology: The methodological basis of the present research is based on the application of various general scientific methods of scientific knowledge (analysis, synthesis, deduction, induction, system-structural, formal-logical approaches), as well as particular scientific methods, i.e. historical-legal, formal-legal, comparative-legal, and interpretative.
Result: The characteristics of the North American approach to the issues of strategic planning and the development of program documents in the field of ensuring national interests are established, systematized, and characterized by the content of US National Security Strategies of past decades, in terms of securing national interests in them and areas of their implementation.
Applications: This research can be used for universities and students in history.
Novelty/Originality: In this research, the model of national interests institutionalization in the North American tradition is presented in a comprehensive and complete manner.
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Murphy, Maureen. « Dion Boucicault : showman and Shaughraun ». Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no 2 (25 mai 2020) : 137–44. http://dx.doi.org/10.5007/2175-8026.2020v73n2p137.
Texte intégralRésumé :
Dion Boucicault’s three Irish plays: The Colleen Bawn (1860), Arrah-na-Pogue (1864) and The Shaughraun (1874), while not critically significant, owe their perennial popularity to their appeal to Irish romantic nationalism and to their memorable character types. While Boucicault’s character Myles Murphy or Myles na gCopaleen (Myles of the Ponies), an example of his native Irish hero, was the first of a series of rogue heroes that John Millington Synge developed in his character of Christy Mahon, Boucicault also owes the character of Myles to American native heroes like Sam Patch, Davy Crockett and Mose the Bowery B’hoy. While the plays are not great drama, they are good theatre and a less self-conscious national theatre has found room for both Boucicault and Synge.
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Liu, Yaqi, et Qianwen Zhang. « The Trend and Reasons for the Shift of Korean Dramas from Romantic Themes to Realistic Themes ». Communications in Humanities Research 13, no 1 (20 novembre 2023) : 211–18. http://dx.doi.org/10.54254/2753-7064/13/20230324.
Texte intégralRésumé :
In recent times, there has been a shift in the manifestations of Korean popular films and television works. With the advent of globalization, the impact and influence of streaming media and transcultural communications have surpassed traditional methods. Additionally, the dynamics between male and female characters in Korean dramas have undergone changes. Against this backdrop, this study explores how local TV dramas, promoted by Netflix, successfully transcend national boundaries while preserving their distinct cultural identity. To accomplish this objective, the study focuses on the Korean drama The Glory, which gained significant popularity on Netflix in the previous year. Through detailed analysis and examination, this paper sheds light on the strategies employed by these dramas to navigate the global market while maintaining their unique characteristics. At the same time, this paper also provides experience and a new direction for Chinas cultural export to the world. By relying on film and television works and combining Chinese cultural symbols with the local social and cultural background, Chinese drama can weaken the cultural discount brought by different cultural backgrounds.
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Wood, Gerald C. « Orphans' Home : The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge : Louisiana State University Press, 2003 ; pp. 233. $49.95 cloth, $22.95 paper. » Theatre Survey 45, no 2 (novembre 2004) : 286–88. http://dx.doi.org/10.1017/s0040557404240261.
Texte intégralRésumé :
Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.