Articles de revues sur le sujet « Teachers of deafblind people – drama »

This paper discusses a musical drama based on Japanese folk tales presented by a junior high school special needs class and how these activities related to a community music therapy that promotes cultural growth in the local community. The results clarified two points. First, a musical drama that utilized the musical resources and local resources of special needs class students created relationships between regular class students, teachers, and local people, and empowered special needs class students. Second, the knowledge gained from community music therapy is also useful for inclusive education-oriented activities.

Teaching speaking In Indonesian, many teachers have made much effort to find good methods, strategies, techniques, media and teaching materials to make the most of it. They have tried hard to maximize every way in the teaching and learning process. The socio drama method also has an influence on student learning outcomes. The purpose of the research method used is experimental. The population in this study were 250 people students of class VII SMPS PLUS Kasih Ibu Patumbak, while the sample is class VIII-A (20 students) as an experimental group that teaches storytelling techniques in narrative text and class VIII-B. (20 students) as a control group were taught without telling. This research was conducted through the following The test is a drama conversation. Researchers of several drama conversations related to English answered 2 people with drama. The results show that there is an increase in students speaking skills using storytelling techniques. After calculating the data, then the researcher found that the t-test t-test obtained that the value of observed ≥ ttable, namely 6.436 > 2.086. on significance level α = 0.5. Thus, it can be concluded that H0 is rejected and Ha is accepted. An can be interpreted that Performing socio drama significant effect on increase students' motivation in speaking english.

Nowadays not only formal but also non-formal education plays a significant role in the context of lifelong learning. By getting involved in various non-formal education activities, with overall and personality development, children and young people socialise, gain new experiences, and acquire new social roles. The wider the spectrum of non-formal education activities, the more possibilities there are for each child and young person to find the most suitable to get involved in according to their interests, needs, abilities, future intentions and goals. One of the forms of non-formal education for children and youth is theatre art non-formal education, which finds its theoretical methodological base in drama pedagogy. School drama clubs, optional course of public speech, drama studio etc. have a significant role and contribute to the promotion of students’ personality development and socialisation. The aim of this article is to give a theoretical justification of the youth theatre art non-formal education in the context of drama pedagogy historical development. The approaches, principles, new methods of drama pedagogy were and are currently used by teachers-practitioners in many countries not only in the drama non-formal education but also throughout formal education – by including drama elements as learning techniques and methods across different subjects, thus making the drama pedagogy universal, constantly present everywhere and at all times.

During spring of the academic year 2020-2021, the English Didactics department of the Freie Universität Berlin offered a seminar on drama pedagogy. Given the pandemic and a syllabus which promised future teachers ‘teaching through actual classroom practice’ it was decided to take the in-person sessions between university students and grade six students online. The result of these collaborative drama lab sessions were Earth Speakr messages which, after being practiced online, were recorded in person at school in the Earth Speakr app by the English teacher, a university student assistant and the course instructor. Once uploaded, these messages become part of the global Earth Speakr artwork initiated by the artist and climate activist Olafur Eliasson. This article lays out some of the parameters, contexts and challenges of the sessions. These are complemented by individual reflections as well as outstanding questions for further research. Linguistic actions used in performative teaching, such as acting during an online guessing game or using gestures to practice pronouncing a word can have transformative effects. Even during pandemic times, there is evidence that these experiences can help learners and teachers to connect and find their own place in the social worlds they move in.

Monolog memiliki kompleksitas dan kekhususan tersendiri karena meskipun merupakan wicara seorang diri, wicara ini disapaikan di hadapan orang lain. Perkembangan monolog perlu diikuti dengan pembinaan agar sekolah dan masyarakat tidak memandangnya sebagai pementasan drama yang ala kadarnya. Monolog perlu disikapi sebagai genre pementasan drama, yang bila dikemas dengan sungguh-sungguh dapat menjadi tontonan teter yang menarik.Permasalahan yang dihadapi adalah masih banyak guru Bahasa Indonsia belum memeiliki ketrampilan dalam bermonolog. Pelatihan ini dilaksanakan di laboratorium Komputer SMA 4 Kota Ternate yang merupakan kerja sama Tim PKM Fakutas Keguruan dan Ilmu Pndidikan Universitas Khairun dengan Musyawarah Guru Bahasa Indonesia Kota Ternate yang berjumlah 24 orang. Tujuannya agar setelah mengikuti peltihan, peserta pelatihan dapat mementaskan monolog dengan baik dan dapat melatih siswa bermonolog dalam kegitan pembelajaran Bahasa Indonesia. Kegiatan Pelatihan Monolog dilaksanakan dengan menggunakan Teknik Permodelan. Pelatihsn dilakukan melalui 3 tahapan yaitu tahap pertama tahap penyajian materi, kemudian tahap pementasan atau permodelan monolog dan yang ketiga adalah praktek monolog oleg guru-guru peserta pelatihan.Hasil yang diperoleh yaitu berdasarkan hasil pengamatan, nara sumber menilai sebagian besar guru yang tampil sudah bagus dalam bermonolog. Hanya ada bebarap guru saja yang kelihatan agak malu sehngga kurang bisa berekspresi secara maksimal. Selain itu, hasil evaluasi menunjukkan bahwa sebagian besar guru sudah bisa bermonolog dengan baik. Terlihat dari tabel hasil evaluasi kemampuan guru dalam bermonolog terdapat 6 orang atau 33,3% guru yang termasuk dalam kriteria sangat baik, 11 orang atau 61,1% guru yang berkemampuan baik, 1 orang atau 5,5% yang masuk dalam kriteria kurang baik dalm bermonolog, dan tidak ada guru atau 0% yang termasuk dalam kriteria sangat kurang. Ini menunjukkan bahwa solusi atau harapan kegiatan pelatihan agar 75% guru yang ikut dalam pelatihan ini dapat bermonolog dengan baik bisa tercapai Monologue Training with Modeling Techniques for Indonesian Language MGMP Ternate City Monologue has its own complexity and specificity because even though it is a solo speech, it is delivered in front of other people. The development of monologues needs to be followed by coaching so that schools and communities do not view them as perfunctory drama performances. Monologue needs to be considered as a genre of drama performance, which if properly packaged can become an interesting tethered spectacle. The problem faced is that there are still many Indonesian teachers who do not have the skills in monologue. This training was carried out in the Computer laboratory of SMA 4 Ternate City which is a collaboration of the PKM Team of the Faculty of Teacher Training and Education at Khairun University with the Indonesian Language Teacher Conference of Ternate City, totaling 24 people. The goal is that after attending the training, the trainees can perform monologues well and can train students in monologues in Indonesian language learning activities. Monologue Training Activities are carried out using Modeling Techniques. The training is carried out through 3 stages, namely the first stage of presenting the material, then the stage of staging or modeling the monologue and the third is the practice of monologue by the trainee teachers. The results obtained are based on observations, resource persons assessed that most of the teachers who performed were good in monologues. There are only a few teachers who look a little embarrassed so they can't express themselves optimally. In addition, the results of the evaluation showed that most of the teachers were able to monologue well. It can be seen from the table that the results of the evaluation of the ability of teachers in monologue are 6 people or 33.3% of teachers who are included in the very good criteria, 11 people or 61.1% of teachers who have good abilities, 1 person or 5.5% who fall into the criteria are not good in monologue, and there is no teacher or 0% which is included in the very poor criteria. This shows that the solution or hope of training activities so that 75% of teachers who participate in this training can monologue well can be achieved.

This research aims to prove the effectiveness of using audiovisual media in learning to write drama scripts for students. The population in this research were students of class XII Social Science which collected 90 people from three classes. The sample was determined by purposive sampling technique in order to obtain 2 classes as the experimental and control classes. The research design was a quasi-experimental. The instrument used is a drama writing test. The collected data were analyzed using descriptive analysis and inferential analysis in the form of independent t-test. The results showed that the group using audiovisual media obtained better results than audio media. The results of the study were evidenced by a t-test which showed that audiovisual media was effectively used in learning to write drama scripts. The implication of this research is that teachers can improve students' ability to write Indonesian drama scripts using audiovisual media. Abstrak: Penelitian ini bertujuan untuk membuktikan keefektifan penggunaan media audiovisual dalam pembelajaran menulis naskah drama siswa. Populasi dalam penelitian ini adalah siswa kelas XII IPS yang berjumlah 90 orang dari tiga kelas. Sampel ditentukan dengan teknik purposive sampling sehingga diperoleh 2 kelas sebagai kelas eksperimen dan kelas kontrol. Desain penelitian adalah eksperimen semu. Instrumen yang digunakan adalah tes menulis drama. Data yang terkumpul dianalisis menggunakan analisis deskriptif dan analisis inferensial berupa independent t-test. Hasil penelitian menunjukkan bahwa kelompok yang menggunakan media audiovisual memperoleh hasil yang lebih baik dibandingkan media audio. Hasil penelitian tersebut dibutikan dengan uji-t yang menunjukkan bahwa media audiovisual efektif digunakan dalam pembelajaran menulis naskah drama. Implikasi penelitian ini adalah guru dapat meningkatkan kemampuan siswa menulis naskah drama bahasa Indonesia dengan menggunakan media audiovisual.

Students' listening skill activities are expected to be able to interpret the speech that lies in the drama script using film 17 forever and students must pay attention to three stages in listening to drama scripts using film 17 forever, namely, (1) explaining student activities in listening to drama using the use of film. film media 17 forever, (2) Expressing students' ability to listen to drama scripts using 17 forever film media, (3) saying students' responses to using 17 forever film media in listening to drama scripts. Teachers and students of class VIII B totaling 25 people were the subjects in this study. The results of the research on discovery 1 in the first cycle, the score given by the two observers after being accumulated is the average score of students are 68 (active). In cycle II, there was an increase in the score given by the observer and the average score for student activities. The total score is given by the two observers, as well as the average score for student learning activities, is 70. In discovery 2 there is a cycle I average value of student learning outcomes listening to drama scripts, which is 80.0, whereas in cycle II there is an increase to 85.0. The increase occurred from cycle I to cycle II of 4.80, not only that, the number of students who completed exploring education from cycle I to cycle II faced significant changes. In cycle I, from the total number of villages, only 20 people (80.0%) got a complete score. On the other hand, in cycle II, the totality of students found (100%) complete education by listening to drama scripts on film media 17 forever. (In discovery 3) the first cycle of students shared a positive response (responsive) to the education of listening to drama scripts using film 17 forever with an average value of 79.02 In the second cycle, the average value given by students to this education increased to 80.10 (responsive). So that it can be concluded from the initial, second, and third findings, and the explanation above, it can be concluded that research on the use of film 17 forever in education by listening to drama scripts can increase the learning outcomes of class VIII B students of SMPN 1 Banggai Utara.

This study documented the community theatre process for young people led by facilitators from the Play-Spirit Studio and examined how their processes and roles impacted the development of the youths. The program was implemented in four schools in Pichit Province, Thailand, with each project lasting five days. The facilitators used the community theatre process, working with youths between the ages of 9-12 and 13-18 as an intervention in 4 schools, encouraging them to create narratives based on their community. The narratives functioned as a learning process for the youths and as a production for the community audiences. The facilitators' leadership in the process provided a safe learning environment for the youths to explore social issues, assume roles in drama, and reflect on themselves. This was a transformative experience for both the young people and their teachers. The young people developed communication, team-working, and resilience skills through the theatre process while the teachers recognized the youths’ potential and the importance of community engagement in the young people’s learning.

The Internet provides us with a plethora of material to read and view and is the tool that people use today to communicate and acquire information. YouTube is a globally-used platform for individuals and organizations to share audio and visual material. Due to the COVID-19 situation, many teachers in schools and universities have looked to this website to supplement their teaching as it provides a scope and depth of material that is easily and readily accessible to the public. Theatres having been forced to close because of the pandemic have used this platform to share their work, and many teachers, especially those teaching theatre or performance-related studies have accessed recordings of performances to use in the online classroom as it is, as far as I know, the only way to access the arts for free during the pandemic. As a teacher of English language with an interest in drama and theatre arts, I had been viewing many free performances as I hope to share and foster an appreciation of drama and theatre in my students. With that in mind, I attempted to design a theatre reviewing task for use in the EFL classroom. The report shows my findings and my reflections of the task, and reveals that viewing and writing about the theatre arts can have a positive influence on students.

Abstract Teaching young people how to deal with conflict is rarely part of a school curriculum. Although, as social communities with humans of different ages, and levels of power and status, schools themselves are full of conflict, they are often reluctant for many reasons to acknowledge the fact, and more reluctant to give it an explicit profile by including the teaching of conflict management and transformation within the curriculum. Most conflict and bullying management in schools is reactive (i.e. after the fact), top-down (i.e. done to or with the participants by teachers and school leaders), and any training is extra-curricular. Cooling Conflict was a ten-year action research project in Australia, part of the international dracon project, investigating how drama can provide young people with the cognitive tools to resolve their own and other people’s conflicts, and to manage bullying for themselves. The program developed carefully structured drama pedagogy to give students knowledge and a vocabulary to understand the origins and structures of conflict, and to provide practice in the range of strategies available for resolving, managing or transforming conflict. The aim was to provide the students with autonomy and agency over this knowledge, and peer teaching became an important part of the program, which was (and still is) implemented in a wide range of educational settings internationally, formal and informal. From the outset and wherever possible, the program was deliberately integrated into standard curriculum time and programs, to embed the concept that conflict transformation and management can be learnt through experiential, integral learning. Over ten years, the project accumulated overwhelming evidence that, properly used, drama pedagogy is a valuable method for providing students with the tools they need to manage or transform their own conflicts, and themselves to take responsibility for assisting peers and younger students to do the same.

The essence of education is to cultivate individuals who are useful. The "people" being educated are the students, and teaching and learning are the essential components of the teaching process. There is also a positive interactive relationship between teachers and students, as well as among multiple parties. Heuristic teaching is a beneficial method and means to stimulate students' initiative during the teaching process. Currently, in the teaching of artistic language expression in Chinese universities' drama performance majors, the positioning of the major is often vague, and there is a significant issue of homogenization. Under this teaching philosophy, most students trained tend to have a high degree of homogeneity and lack the ability to cultivate independent personalities and characteristics in graduates. This study will use a literature review approach to compare traditional teaching methods and heuristic teaching methods. It has been found that the shortcomings of traditional teaching lie in an excessive emphasis on the teacher as the main actor, with a sole focus on knowledge transfer, neglecting the students' own creative thinking, and even limiting their creativity. When heuristic teaching is applied, the classroom becomes a place where teachers and students actively participate in and complete the teaching and learning activities together. It gives the initiative of "teaching and learning" back to the students. The teacher's role shifts from injecting knowledge to encouraging students to think and innovate actively, ultimately achieving artistic language expression where "a hundred people have different voices, a thousand people have different faces," rather than "a thousand people have the same face, ten thousand people have the same voice."

Two teachers at Haskell who had a profound impact on my life were Ella Deloria and Ruth Muskrat Bronson. They stood apart from the others as far as I'm concerned. Ella Deloria was Standing Rock Sioux and a graduate of Columbia…. She taught girls' physical education and drama. Ruth Muskrat Bronson was Cherokee and a graduate of Mount Holyoke. She taught English. They both had such a wonderful sense of humor. They taught non-Indian subject matter but had a very strong respect for Indian culture, and they were clever enough to integrate it into the curriculum. They taught their students to have a healthy respect for themselves as individuals and a pride in their heritage. They taught us about Indian values and kept them alive in us. They respected and encouraged us to voice our opinions in and out of the classroom, and they had the ability to draw out our creativity. When Ruth would tell us to have pride in who we were, she'd say, “Indians are people too. Don't forget that.”

Jesuit teachers, whose members came to Ljubljana in the late 16th century, placed great emphasis on the production and staging of the school drama. Despite the domination of religious themes, the range of its subject matter was wide and varied. The article discusses two plays which derived their subject matter from English literature, namely from Bede's Ecclesiastical History of the English People and Holinshed's Historie of Britain.The texts themselves are lost, but in the case of the Holinshed-inspired work (a version of the King Lear story), a detailed synopsis has been preserved. The article examines the synopsis and the extant manuscript reports about the plays, the original English sources, and the treatment of the two works in contemporary scholarly treatises.

The author describes a project which was created to encourage communication, through music and drama, between mainstream sixth form pupils and a local Special School. The course was offered as part of the Certificate of Pre- Vocational Education of the Joint Board of City and Guilds/B. Tech. and was open to all sixth form students irrespective of their musical expertise or experience. None had previously worked with handicapped children.Dorothy Tipton is Head of Music at the Rowena School for Girls, Sittingbourne. Her interest in Special School work was awakened during a Diploma in Music Education course at Christ Church College, Canterbury, resulting in a dissertation on ‘Music in the Mainstream Classroom for children with Special Needs’ (1985). During this research close and lasting links were developed with the local Special School for the severely handicapped, St Bartholomew's School, Milton, Kent. In March 1988, project cards for Music non-specialist primary school teachers Exploring Sounds and Themes, devised by Dorothy Tipton, Alan Vincent and Vanessa Young, were published by Kent Education Committee.

The aim of this study to development of materials teaching writing text drama based on problems that happened in 9th of grade Students of Methodist Medan. The reason for choosing this school student at Methodist Senior High School 12 Medan was because it had all the supporting aspects so that the research could run well. This study was conducted on July2019. The result is students who scored 65-74 were 2 with a percentage of 7%, at 55-64 there were 1 2 people with a percentage of 40 % and at 0-54 as many as 16 people with a percentage of 53%. In the posttest score increased better learning outcomes around 85-100 scores by 2 with a percentage of 7 %, 75-84 scores by 2 2 with a percentage of 73 %, a value of 65-74 by 6 with a percentage of 20 % . So, the final results of the needs analysis showed that 100% of teachers and students of Medan Methodist 12 High School needed a companion module in learning Indonesian.

Environmental damage is still happening. The wrong human perspective on the environment that causes this damage continues. Only humans with environmental literacy can solve environmental problems. Environmental education is seen as the most effective way to educate people about environmental issues at all levels of education. Teachers are the front line in the success of education. However, there is no special program to prepare pre-service teachers’ environmental literacy on teachers through environmental education. A literature review is used to explore which learning methods are effective in improving attitudes, knowledge, and environmental behaviors for pre-service teacher students in scientific articles published from 2011 to 2021. Scientific articles were source from Google Scholar, ERIC, EBSCOhost, SAGE, Taylor and Francis, Sciencedirect, JSTOR, and Proceeding online. Twenty-one articles were selected from predetermined criteria. From the results of the analysis, learning methods in environmental education that are effectively used to improve the environmental literacy of pre-service teacher students include Environmental Education courses, Outdoor-based learning, Project Based Learning (PjBL), Problem Based Learning (PBL), Science, Technology learning, Engineering, and Mathematics (STEM), Constructivist Learning, Guided Inquiry, Demonstration, Environmental and Sustainability Education (ESE), Pedagogical Experiments, 3R-oriented learning, Contextual Approach based on local wisdom, environmental education based on transformational learning theory, and Integration of drama, film, and educational videos. The choice of method must still be adjusted to the learning material.

This study aimed to examine the activities based on biography and local elements used in values education processes in primary schools. For this purpose, the study group of the research was selected by the purposeful sampling method. The study group of the research consists of 12 teachers working in primary schools in Erzurum in the 2021-2022 academic year. The research is a hermeneutic phenomenological study, one of the qualitative research models. In the research, data were collected through interviews and analyzed with content analysis. According to the results of the research, teachers think that the necessity and importance of values education in education and training is at a very high level. However, he thinks that the existing values education activities in schools are insufficient and should be further developed and enriched. In values education in schools, techniques such as watching videos, drama, painting, writing poems or texts, and narration are generally used. In addition to these, biographies of popular and national people and heroes and local elements and personalities are also used. Localization and biography-based techniques increase effectiveness and success in values education.

The body is undoubtedly the first language of communication in human history. Body language, which dates back to the first human, was the first language with which humans communicated with each other. Human being is a social being; just as it needs nutrition, shelter, security, knowledge, respect and love, it also needs communication. Therefore, speaking skill has become one of the language skills that individuals use most in daily life throughout their lives. Drama method is a method that can be used to help people get to know themselves and their environment, improve their relationships, gain different perspectives, and increase social harmony. The aim of this research is to determine the effect of body language-centered drama activities on the development of students' speaking skills in secondary school Turkish teaching. The participants of the study consist of 55 7th grade students studying in a secondary school in Battalgazi district of Malatya province. In this research, mixed research method sequential explanatory design was used. A semi-experimental design was used in the quantitative part of the research, and the quantitative data of the research was collected using the Speaking Skills Attitude Scale (2017), and the phenomenology design was used in the qualitative part, and the data were collected with student diaries, semi-structured interview form and observation form. In the quantitative part of the research, a control and an experimental group were created. Experimental and control groups were determined according to the students' pre-test results from the attitude scale. According to the results of the Mann Whitney U test, the groups were found to be equivalent. In the experimental group, body language-centered drama prepared in the context of Turkish language teaching program achievements was taught, and in the control group, lessons were taught taking into account the current Turkish course curriculum. At the end of the research, a semi-structured interview was conducted with 9 experimental group students, a diary was collected after each drama application, and observations were made by taking pre- and post-videos of the students' body language-centered speaking skills. A reliability and validity study was conducted on the applied quantitative and qualitative data collection tools. Analysis of the post-tests in the experimental and control groups was made with the Mann Whitney U test. Qualitative data were analyzed with codes and categories created by content analysis and descriptive analysis. When the results of the research were examined, it was concluded that the Turkish lesson taught with body language-centered drama activities was more effective than the normal Turkish lesson in terms of giving speaking skill gains. Similarly, it was observed that the interest and love of the students participating in the study regarding speaking skills increased after the body language-centered drama activities, and their anxiety decreased. In addition, it was observed that students began to use body language easily both in the classroom and in daily life. Looking at the results of the qualitative data of the research, it was seen that the students started to use body language in and outside the classroom, their speaking skills improved and even their existing speech disorders improved. The study results were examined in the literature and compared from both similar and different perspectives. Looking at the results, researchers can make variations in their studies in order to obtain rich data; for drama practices, they should conduct pilot exercises before implementing the created drama workshops and pay attention to the physical characteristics of the place where the drama will be implemented; recommendations were made for institutions to give teacher candidates the opportunity to practice in drama classes in faculties of education and to provide drama training to teachers in in-service courses opened within the Ministry of National Education.

Joseph Ratzinger – Benedict XVI, one of the greatest thinkers of mankind and the greatest Pope-theologian in the history of the modern Church, has devoted much attention to a critical analysis of the spirit of the age and the spiritual condition of modern people, living as if God did not exist. The Pope’s diagnosis is unequivocal and utterly pessimistic. He writes openly about the spiritual void, the drama of the times and even the tunnel in which humanity has found itself. At the core of this condition, according to Benedict XVI, there are two postmodern phenomena: relativism and secularism, leading people, above all young people, into spiritual regress and deformation. In the face of these threats and their disastrous consequences, the Pope from Germany proposes that the spiritual development of young people become the most urgent challenge and priority task to be carried out jointly by all the different groups of educators: parents, teachers, pedagogues, catechists, and the clergy. Of the many tasks and remedies needed to achieve success, which Benedict XVI outlined for educators in his speeches and writings, three aspects are particularly fundamental: personalism, theo- and Christocentrism, and integrity and reference to conscience. The perception of a young person as a subject through his or her ontological relationship with the living God revealed in Jesus Christ and the formation of a conscience, through which a young person may take responsibility for himself or herself and co-responsibility for others, guarantee authentic education and can restore hope to contemporary people and the world.

The purpose of the article is to highlight theatrical art as a form of organized cultural leisure of peasant youth during the 1920s. Research methods: problem-chronological, historical-systemic and analytical. Main results. It is found that drama circles and rural theatre were in great demand among young people and became the most popular form of leisure in the village. The organizers of group theatrical work were Komsomol activists and teachers. It is found that the latter, being an educated part of the rural environment, became more productive and effective in setting up appropriate work with peasant youth. There were organizational and financial problems in the practice of theatre companies and drama circles. It was one of the reasons for the low quality of youth theatre performances. At the same time, there were many successful amateur groups in the districts of the Ukrainian SSR. The author shows that the role and place of peasant youth in drama circles and rural theatres was determined by the political education policy of the ruling party. The filling of youth leisure by rural theatre was to perform several functions, including raising the general cultural level of the population, deepening political consciousness, anti-religious propaganda and levelling the dominant traditional forms of leisure for young peasant population. Taking into consideration the functions and tasks, set by the ruling elite before theatrical and dramatic circles, the themes of plays and performances were also appropriate. They tried to select the whole repertoire in the direction of general strengthening of the Bolshevik Party position in the countryside. Considering the possibility of influence of this type of art on young people consciousness formation, in the conditions of the totalitarian regime it was doomed to its political and ideological service. Practical significance: recommended for use in the study of rural youth leisure, the study of history of rural theatre as an original phenomenon in the village of the NEP period. Originality: the author generalizes the experience of creating leisure of rural youth of the post-revolutionary period in the conditions of ideological and cultural transformations. Scientific novelty: for the first time peasant youth is considered by the author as a subject of the formation of a new type of leisure of the Ukrainian village of the 1920s. Article type: review-generalizing.

The present study is aimed at introducing effective psychological instruments the authors have been using in a therapeutic interaction with people (children, adolescents, and youth) with different problems for a long time in the educational process. The main focus of the study is the metaphors and motivation of fear and anxiety the use of which in the process of providing psychological assistance to students can improve the quality of the educational process and educational influences on them since these tools allow students and teachers to safely (due to the metaphorical distance) address sensitive topics that often present the source of anxiety and fear in students while neglecting these topics often hinders the creation of a safe learning environment. Metaphors are actively used in a variety of psychotherapeutic approaches although very little attention is paid to their implementation in the educational environment. The goal of the present study is to disclose the opportunities of using metaphors of experiencing fear in working with university students. The proposed hypothesis states that the implementation of metaphors of experiencing fear in work with university students will contribute to the improvement of their self-assessment of subjective well-being. The study presents the analysis of the results of focus group studies conducted during experiments with the students of the “Drama Therapy” specialty at the Palacký University of Olomouc in the Czech Republic. With the use of the grounded theory method, it is demonstrated that work with metaphors of experiencing fear leads to becoming aware of self-support mechanisms, processing suppressed emotions, relaxation, inner liberation, and the activation of personal resources. These results open up prospects for the active use of metaphorization of various (including negative) experiences in providing psychological assistance to students.

Purpose The purpose of this paper is to illustrate the plans for and implementation of critical dramatic inquiry with middle school youth. The authors also provide a theoretical frame for understanding dramatic inquiry as an embodied, persuasive and reflexive practice that can inform and transform the ways youth and their teachers experience their own and others’ worlds. Throughout, the authors argue for the centrality of imagination in youth literacies and critical inquiry. Design/methodology/approach Working with Stetsenko’s (2008) concepts of contribution and agency, the authors considered the different ways youth “found [their] place among other people and ultimately, [found] a way to contribute to the continuous flow of sociocultural practices” (p. 17). Further, the authors considered Stetsenko’s (2012) reference to moral philosophy and the idea that “humans are understood as being connected with the world precisely through their own acts – through what has been termed “engaged agency” in moral philosophy (Taylor, 1995, p. 7)”. The authors read and annotated documents, noting key moments in the videos where youth collaborated in “finding a place among other people” and became “connected with the world […] through their own acts”. Findings The authors identified three ways dramatic inquiry orients youth in time-space, offering addresses and possibilities for answerability that direct their actions toward critical, ethical questions: creating a life through embodied positioning, reflecting on action through transformation of representations and establishing a direction for one’s own becoming through persuasion and answerability. These three modes of contributing to a dramatic inquiry extend current research and thought about drama by pointing to specific contributions to and purposes for action in drama experiences. Research limitations/implications This work represents a single two-session workshop of teacher research with middle school youth engaged in dramatic inquiry, and is, therefore, the beginning of a conceptual framework for understanding dramatic inquiry as critical sociocultural practice. As such, this work will need to be developed with the aim of extending the dramatic inquiry work across several days or weeks, to trace youth insights and subsequent actions. Practical implications Critical literacy educators who want to implement dramatic inquiry will find clear descriptions of practices and an analytic framework that supports planning for and reflection on social change arts-based experiences with youth. Social implications The authors argue that educators who aim to support youth actions, in relation to multiple viewpoints and possible futures, need to pose imagined and dramatized addresses to which youth can imagine and embody possibilities and express possible answers (Bakhtin). Based on Stetsenko’s transformative activist stance, the authors argue that drama-based experiences disrupt the everyday so youth may collectively explore and contribute to an emerging vision of equity and belonging. Originality/value Few studies have engaged Stetsenko’s transformative activist stance as a way to understand learning, social change and the role of imagination. This study describes and explores a unique instantiation of process drama informed by critical sociocultural theory.

This research is motivated dissatisfaction of teachers and students on learning media in school. The purpose of this study is (1) describe the development needs of plants and animals puppet media, (2) determining the value of the puppet characters of plants and animals, (3) describe the use of plants and animals puppet media, (4) test the effectiveness of the use of plants and animals puppet media. The method used is Research and Development (R & D). The eight stages covering explore the potential and problems, analyze the needs, preparation of media design, media validation, revision, testing a limited scale, revision back, and wide-scale trials. The results of this study indicate that (a) the needs of the media by the learner, including packaging, contents, materials, physical, and values contained in the media; (B) the character of the value of plants and animals puppet media is conservation values; (C) the utilization of plants and animals puppet media carried out in groups with one group consists of 2-3 people; (D) the development of plants and animals puppets charged effective conservation for students fifth grade elementary school.

Purpose: This article describes how the specialized, rhetorical aesthetic theory of form, posited by Kenneth Burke, highlights humanistic and artistic elements of technical communication exemplified in the technical workplace. A specialized way of understanding how types of communication build relationships between author and audience, the theory of form offers a unique way to contextualize how an artist-rhetor creates and fulfills audience desires, expectations, and appetites. Method: The authors first contextualize technical communication as a field of artistic and creative practice; they then expand that context using Burke???s rhetorical aesthetic theory of form as a framework for application and examine that application in the context of the technical workplace, using a self-reported case study from industry as an example. Results: The rhetorical aesthetic theory of form provides a way of rethinking technical communication practice, emphasizing the humanistic and artistic elements of technical communication in the workplace. Conclusion: Looking at technical communication with an interrelated view of rhetoric and aesthetics can provide scholars, teachers, and practitioners with new insights for how technical communicators can see themselves and their audiences as complex people who have the capacities for arguing, influencing, and persuading–and also with capacities for drama, story, feeling, creating, and being moved by art.

Radio play scripts can be used in Javanese language learning in junior high schools as a language teaching medium for students considering that play scripts are built by physical structures, namely language and inner structure which means semantics, thus causing the possibility of polysemy in speech making language learning for junior high school students considered sufficient. it is important to enlarge, especially research studies in Javanese directive utterances. This research is expected to contribute to increasing the study of the Javanese language and students can understand the implied meaning of utterances that are usually expressed by older people. The purpose of this study is to describe the form of directive utterances in radio play scripts in order to add to the study of the Javanese language. This research is a qualitative descriptive study using content analysis methods through a pragmatic approach to data sources for Mapan and Munthu Wijaya radio plays. The result of this research is an analysis of the forms of directive speech acts including Requestives, Questions, Requirements, Prohibitives, Permissives, Advisories of Mapan and Munthu Wijaya radio plays. Based on the research results of Mapan and Munthu Wijaya's radio plays, there are 43 data of directive speech acts that are relevant to the Javanese language learning materials, particularly for KD 4.3, Writing and Presenting Drama Text, which is present in Javanese language subject syllabus for 9th-grade students in Merdeka Curriculum It is hoped that teachers can be more varied in choosing teaching materials and this research can be developed by other researchers with broader studies.

While teaching sciences which takes up a huge place in today's technological world, effective communication among teachers and students is especially required in order to increase the enthusiasm of students about sciences. The study is aimed to support teacher candidates in acquiring effective interaction abilities, which are some of the 21st century foreground skills, and foster them to make use of these abilities in the process of teaching sciences. The research has been conducted in accordance with qualitative research techniques which include observation and semi- structured interviewing techniques. 17 teacher candidates have taken part in the research as volunteers. The result of the observations made show that these teacher candidates have used oral communication in the activities mostly. The subject of hand and facial movements (mimics) and drama technique in teaching have drawn attention of teacher candidates heavily. According to the results of interviews made, it can be deducted that it is an important improvement for them to learn effective listening is also a medium for communication. At the end of the research, the teacher candidates have been observed to have found a chance to get to know themselves in the use of communication skills; therefore, it has been detected these people have been using some of the communication channels without realizing it, whether they are positive or negative, in their relations with friends, family members, school life and so on. The realization of teacher candidates upon the importance of communication skills in education and turning their ideas into skills through their knowledge in the issue reveal the fact that this study has fulfilled its aims.

The article deals with pedagogical methods that ensure the creative development of adolescent students through the art of choreography. The importance of the art of dance in working with a children's choreographic group is determined. The article notes that the modern world is characterised by a focus on digitalisation and automation, but art classes allow you to experience personal emotions, which is important for modern students to feel and understand the beauty of the work done and transform its energy into creative achievements. The main problem of our research is to study the methodological and theoretical system of prominent Ukrainian choreographic teachers and the use of effective methods in the creative activity of future choreographic art specialists. The purpose of the study is to substantiate the pedagogical possibilities of choreographic art in the creative development of adolescent students in the study of classical, folk and contemporary dance. The determining condition for success in creativity is systematic, hard work that requires mobilisation of spiritual forces and maximum concentration. The harmonious combination of dance and pantomime, music and poetry, plasticity of movements and drama of a literary work into a single whole is an important factor for the aesthetic education of the individual, his or her creative development and value attitude to reality. The authors note that in recent years, the relevant disciplines have been increasingly introduced into educational institutions, performing a number of functions, namely: educational, cognitive, creative dialogue and co-creation, which significantly affects adolescents, increases their self-esteem, and promotes the need for self-development. It has been established that the art of dance is an integral part of the culture of the Ukrainian people, and Ukrainian choreographic art has its own powerful, original voice in the world of culture and art. The pedagogical innovations of our choreographers are widely known outside Ukraine, and they are known and respected in the world. The article highlights the pedagogical methods successfully used by contemporary teachers Radu Poklitaru, Larysa Tsvetkova and others in their work. These include methods of individual approach to each student, improvisation and experimentation, use of multimedia technologies, trainings, business games, situational tasks, master classes, problem-based learning, and creative forms of work (combinations, sketches). The experience of well-known teachers has shown that the art of choreography opens up a wide scope for the development of the creative potential of the individual, allows to introduce creative elements into dance education and upbringing along with performance practice.

Purpose: To investigate the influence of social support factors on retention of boys in public secondary schools in Marsabit county. Methodology: The research design used was mixed methodology because there was an application of both quantitative and qualitative methods when collecting data. The study was located in Marsabit County. The target population was 8 secondary schools in Marsabit County that had boys’ students in them. That is both boys’ secondary schools and mixed secondary schools. The respondents were 56 class teachers, 4,559 boys’ students and 48 parents present at Board of Management. Class teachers and parents were selected using simple random sampling method with an application of Krejcie & Morgan table or formular to obtain 48 and 42 class teachers and parents respectively. The sample technique that was used on students was determined using a Kothari statistical method to obtain a sample of 94. Questionnaires and interview guides were answered by students, teachers and parents respectively. The pre-test study was conducted in two public secondary school in Isiolo which were Isiolo boys’ secondary school and Garbatula mixed day secondary school whose respondents comprised of 5 class teachers, 10 students and 4 parents at BOM. Reliability and validity were also measured. The conclusion made was that a lot of boys failed to remain in school since they lacked motivation from the people surrounding them. That is, most of the boys’ peers, teachers and parents did not adequately portray clear need on why they should remain in school. The results were presented using tables and explanation. Results: As per the questionnaire, 46(60%) strongly agreed and 17(22%) agreed that parents were so supportive to their completion of secondary school education (Median-5). Additionally, 23(29%) strongly agreed and 39(51%) agreed that the community has always wished students well in academic endeavors and are always present when needed (Median-4). Nevertheless, 53(69%) strongly disagreed and 14(18%) disagreed that the school had provided conducive classes and meals among other resources to the students (Median-2). Additionally, 39(51%) strongly disagreed and 33(42%) agreed that the government had provided reliable and qualified teachers who were committed to see students succeed in secondary education (Median-2). The study interviewed teachers and parents of public secondary schools of Marsabit County. The type of support accorded to the boys to remain in school included moral support to shape their manners, financial support to provide schools fees; religious support to check their status with God; and counseling support to offer advice and listening ear to the issues boys underwent through. The ways through which social support was administered included assignments to do at home hence keeping them busy while the parents indicated that they offered them tasks such as cleaning houses, utensils, taking care of the cattle, assisting them in running the businesses and sending them to library to keep them busy. Further, the motivating factors that were put in school which attract students to remain in school included different meals; flexible curriculum hence a choice to choose favorable 8 subjects; school uniform and books; library; entertainment days; school clubs; and cocurricular activities such as drama, soccer, rugby, basketball, tennis and badminton. Unique contribution to theory, policy and practice: Most secondary school management were struggling in ensuring that students have decent learning classes and eat frequently in school. That notwithstanding, the students did not have teachers who would be committed in ensuring that they instill discipline and ensure that the boys are interest in education matters and school activities in general. The recommendations made on social support is that secondary school principals should liaise with the ministry of education for requests to have as many teachers as possible. This is because, when teachers are present, students will benefit a lot since they would be taught and be more confident towards excelling in the examinations. Additionally, the government should increase budgetary allocation to the ministry of education to be able to fund education in the marginalized regions adequately. The fund would be used to build classes and provide at least a meal per day. The ministry of education officials in Marsabit, should incorporate the idea of building classes using affordable means such as precast panels and fabricated panels. This method would cut cost to manageable limits based on the allocated and available funds.

A l’ère de la mondialisation, l’accès illimité à l’information modifie de plus en plus le rapport des jeunes gens mais surtout la vision des adultes du troisième âge à l’égard des barrières de l’apprentissage. De nos jours, de nombreuses institutions d’enseignement et des ONG proposent aux derniers une large panoplie d’activités dans le but de leur faire acquérir de nouvelles compétences et capacités linguistiques, culturelles, techniques, artistiques, etc. En tant que formateurs en FLE, nous avons cherché à briser les barrières qui séparent les générations et à favoriser la communication entre adultes au-delà des frontières géographiques, culturelles, linguistiques à travers un projet européen PLALE. Réunies autour du coordinateur italien de Pavie, cinq autres institutions partenaires se sont proposé de partager leur expérience dans l’enseignement-apprentissage des langues par le jeu théâtral. Pendant deux années, des professionnels et des apprentis de la langue provenant du système formel universitaire se sont servis de leurs compétences didactiques et de leur expérience liée à l’emploi du jeu théâtral pour transformer le contexte non formel de l’Ecole populaire d’arts et de métiers de Bacau en Roumanie en un laboratoire pour l’expérimentation de nouvelles techniques et méthodes d’acquisition par les adultes des connaissances en L2. Le déroulement du projet et la création d’un spectacle théâtral joué à Bacau par les apprenants par les apprenants adultes des six partenaires nous ont permis de faire l’apprentissage d’une pédagogie vivante mais aussi de l’andragogie et de prendre conscience du rôle des relations intergénérationnelles pour assurer la santé de la société actuelle. Breaking barriers, or teaching and learning French by playing drama In the era of globalization, due to unlimited access to information, the relationship and the attitude among the young people have increasingly modified. In addition, the adult’s point of view regarding traditional limits of learning has also changed. Nowadays, more and more institutions of teaching and NGOs are proposing to them a variety of activities which offer them a possibility to develop not only their computer skills but also linguistic, artistic and cultural abilities. As foreign language teachers, we have tried to create a connection between generations, so as to ease the communication between adults which would not have been possible without the existence of a European project. Entitled PLALE or Playing for Learning, it integrates five partners from France, Spain, Portugal, Germany and Romania coordinated by an Italian specialist from Pavia. The specialists’ purpose is to share their experience in the field of foreign language teaching and learning through drama. Key words: European project; pedagogy; andragogy; language teaching and learning; theatre performance; relations between generations.

BackgroundAdolescent men have a vital yet neglected role in reducing unintended teenage pregnancy (UTP). There is a need for gender-sensitive educational interventions.ObjectivesTo determine the value and feasibility of conducting an effectiveness trial of theIf I Were JackRelationship and Sexuality Education (RSE) intervention in a convenience quota sample of post-primary schools in Northern Ireland. Secondary objectives were to assess acceptability to schools, pupils (male/female, aged 14–15 years) and parents/guardians; to identify optimal delivery structures and systems; to establish participation rates and reach, including equality of engagement of different socioeconomic and religious types; to assess trial recruitment and retention rates; to assess variation in normal RSE practice; to refine survey instruments; to assess differences in outcomes for male and female pupils; to identify potential effect sizes that might be detected in an effectiveness trial and estimate appropriate sample size for that trial; and to identify costs of delivery and pilot methods for assessing cost-effectiveness.DesignCluster randomised Phase II feasibility trial with an embedded process and economic evaluation.InterventionA teacher-delivered classroom-based RSE resource – an interactive video drama (IVD) with classroom materials, teacher training and an information session for parents – to immerse young people in a hypothetical scenario of Jack, a teenager whose girlfriend is unintentionally pregnant. It addresses gender inequalities in RSE by focusing on young men and is designed to increase intentions to avoid UTP by encouraging young people to delay sexual intercourse and to use contraception consistently in sexual relationships.Main outcome measuresAbstinence from sexual intercourse (delaying initiation of sex or returning to abstinence) or avoidance of unprotected sexual intercourse (consistent correct use of contraception). Secondary outcomes included Knowledge, Attitudes, Skills and Intentions.ResultsThe intervention proved acceptable to schools, pupils and parents, as evidenced through positive process evaluation. One minor refinement to the parental component was required, namely the replacement of the teacher-led face-to-face information session for parents by online videos designed to deliver the intervention to parents/guardians into their home. School recruitment was successful (target 25%, achieved 38%). No school dropped out. Pupil retention was successful (target 85%, achieved 93%). The between-group difference in incidence of unprotected sex of 1.3% (95% confidence interval 0.55% to 2.2%) by 9 months demonstrated an effect size consistent with those reported to have had meaningful impact on UTP rates (resulting in an achievable sample size of 66 schools at Phase III). Survey instruments showed high acceptability and reliability of measures (Cronbach’s alpha: 0.5–0.7). Economic evaluation at Phase III is feasible because it was possible to (1) identify costs of deliveringIf I Were Jack(mean cost per pupil, including training of teachers, was calculated as £13.66); and (2) develop a framework for assessing cost-effectiveness.ConclusionTrial methods were appropriate, and recruitment and retention of schools and pupils was satisfactory, successfully demonstrating all criteria for progression to a main trial. The perceived value of culture- and gender-sensitive public health interventions has been highlighted.Future workProgression to a Phase III effectiveness trial.Trial registrationCurrent Controlled Trials ISRCTN99459996.FundingThis project was funded by the NIHR Public Health Research programme and will be published in full inPublic Health Research; Vol. 5, No. 1. See the NIHR Journals Library website for further project information.

Background/Context Human rights education has proliferated in the past four decades and can be found in policy discussions, textbook reforms, and grassroots initiatives across the globe. This article specifically explores the role of creativity and imagination in human rights education (HRE) by focusing on a case study of one non-governmental (NGO) organization's program operating across India. Purpose/Objective This article argues that human rights education can and should be creative and innovative in its approaches to ensure access and sustainability of programs that seek to transform the learning experiences of marginalized students. Evidence from India contributes to the discussion of HRE by presenting teachers’ and students’ experiences with one particular human rights education program in India that incorporates an array of strategies to secure support and contextually-relevant curricula and pedagogy for poor children. Research questions that guided the larger study from which data are presented here included (a) How have differentiated motivations for, conceptualizations of, and initiatives towards HRE operated at the levels of policy, curriculum and pedagogy, and practice in India? (b) What impact has HRE had on Indian teachers and youth from diverse backgrounds who have participated in one NGO program? Research Design The larger study from which the data are drawn is a vertical case study utilizing primarily qualitative methods. Participants in the larger study included 118 human rights education teachers, 625 students, 80 staff and policy makers of human rights education, and 8 parents. Observations of teacher trainings included hundreds more participants. The majority of student respondents came from ‘tribal’ (indigenous) or Dalit (previously called “untouchable”) communities, both comprising the most marginalized sections of Indian society. Design and Methods This study was primarily qualitative and was carried out from August 2008 to August 2010 (13 months of fieldwork during that period). Semi-structured interviews were carried out with 118 teachers, 25 students, 8 parents, and 80 staff and officials of human rights education in India. 59 focus groups were carried out with an additional 600 students. Observations were also carried out of teacher trainings in human rights and human rights camps for students. Follow up data were collected on subsequent, but shorter, field visits from 2011-2013. Conclusions/Recommendations The study found the following: (a) Human rights education that is creative, contextualized, and engaging offers a meaningful opportunity for educators, families and students to critique and interrogate social inequalities. (b) Non-governmental organizations can provide a unique perspective on human rights education by drawing on diverse creative approaches if they are able to engage effectively with students, communities, educators and schools. (c) Research on human rights education must attend to how local communities, activists, artists and educators make meaning of normative frameworks (like human rights) in order to understand how creativity, imagination and innovation are engaged and ‘indigenized’ in productive and transformative ways. Further attention to creativity and imagination in human rights education can illuminate how HRE influences—and is mediated by—existing community realities and societal structures. I started learning about human rights in class six. I first thought they are giving us more of a burden with yet another subject and more books. But the teachers were so different after they started teaching human rights: human rights teachers talk nicely to us, they don't scold and beat us. They encouraged us to try new things and cultivate different talents like dance, poetry, drama, singing, and everything. Other subject teachers would just teach their subjects and they beat us also. They put the pressure of other people on us. But the human rights teachers release us from that. Through this course, I started writing poems about women's rights and children's issues and my human rights teacher encouraged me to send it to the newspaper when I was in class eight. They liked it and even published it! I had never ever thought something like that would happen. My grandmother can't read–she is a sweeper in someone's home–but I showed it to her in the newspaper and she was so happy. I kept writing poems and made a collection of 125 of them. My teacher encouraged me to put them together in a book and she raised money from teachers and got the publisher to give us a discounted rate. They are putting all the proceeds of the book sales in a bank account under my name so that I can go to college. I can't imagine what my life would be if this human rights class would not have been there. When I grow up, I would like to do a lot more in the field of human rights. —Fatima, 16-year-old human rights student in India1

The article is a cultural-historical study and a part of the project Uniting History, which aims to discover the multicultural aspect of performing art in pre-war Liepaja and summarize key facts about the history of the Liepāja Symphony Orchestra. The study also seeks to identify the performing artists whose life was associated with Liepāja and who were repressed between 1941 and 1945, because of aggression by both the Soviet Union and National Socialist Germany. Until now, the cultural life of this period in Liepāja has been studied in a fragmentary way, and materials are scattered in various archives. There are inaccurate and even contradictory testimonies of events of that time. The study marks both the cultural and historical situation of the 1920s and the 1930s in Liepāja and tracks the fates of several artists in the period between 1939 and 1945. On the eve of World War II, Liepāja has an active cultural life, especially in theatre and music. Liepāja City Drama and Opera is in operation staging both dramatic performances, operas, and ballet, employing an orchestra. The symphony orchestra also operated at the Liepāja Philharmonic, where musicians were recruited every season according to the principles of contemporary festival orchestras. Liepāja Folk Conservatory (music school) had also formed an orchestra of students and teachers. Guest concerts were held regularly. A characteristic feature of performing arts in Liepaja was its multicultural character – musicians of different nationalities with experience from different schools of the world were encountered there. World War II not only disrupted the balance in society, but it also had a very concrete and tragic impact on the fates of the people, including the performing artists. Many were killed, many repressed and placed in prisons and camps, and many went to exile to the West. Others were forced to either co-operate with the occupation forces or give up their identity and, consequently, their career as an artist. Nevertheless, some artists risked their lives to save others.

Relevance. The Ministry of Education of the Russian Federation has issued guidelines for ensuring a school theatre operating in every school. The task arising out of these guidelines for the researches of theatre practices in education is to find sociocultural deficits which can be eliminated by the means of theatre projects and to provide practical theatrical forms for solving the issues. The relevance of the study is defined by the need for clear directions on how to implement drama in education. The aim of the article is to provide psychological and pedagogical analysis of theatre practices in education as well as to highlight their educational value. Objective. The purpose of the work is to present a psychological and pedagogical analysis of the educational resource of theatrical and pedagogical practices. To achieve this goal, the article provides a phenomenological description and analysis of three implemented theatrical educational projects. Sample. The material for the analysis was the graduation qualification projects of undergraduates of the programme ‘Theater Pedagogy and Directing the Educational Environment’ of Moscow City University. In this analysis, particular attention was given to the description of the goals and results of the projects. Graduates of 2022 whose works belong to three different types of educational situations were selected as respondents. Projects of the three types were involved: a project implemented in general education, a project of extra education, and an educational project implemented in professional theater Methods. In preparing the work, the method of free interview was used, which made it possible to collect information about the projects implemented by undergraduates. It is important that this type of interview allows you to use not only the researcher's own conclusions, but also the experience of people directly related to the subject of research. Results. The results of this work are presented in the form of case studies considered in the advanced training courses for teachers and in the master's classes in the profile: ‘Theater Pedagogy and Directing the Educational Environment’ of Moscow City University. It is planned to further formalize the results of the study in the form of methodological recommendations for teaching staff. Conclusions. The article presents a general analysis that allows us to draw a conclusion about the existing socio-cultural deficits that impede the development of personal and meta-subject competencies of students of different ages, as well as a description of specific areas of possible psychological and pedagogical work of theatre practices in education.

Founded in Boston by Stacy Klein in 1982, initially as a women's theatre, Double Edge moved to Ashfield in Massachusetts in 1997 to the rural complex now known as the Farm Center. The Farm comprises rehearsal rooms, living quarters, technical workshops, an ante-room to welcome and dine spectators, a magnificent loft-like performance space, and acres of land with trees and a pond. The whole is set against a soft New England landscape, and the Farm's grounds are the almost idyllic environment for the summer promenade spectacles that, like its more formal productions indoors, provide a focus for locals, sustaining their sense of community and even the myth of community nurtured historically in these parts. In this conversation of 13 and 14 November 2009 (which was extended in August 2010 after The Firebird, the summer spectacle of that year), Stacy Klein discusses how local people support Double Edge and otherwise form a long-term relationship with the company, now visited by spectators as well as practitioners from further afield – Klein's Polish teachers and mentors among them. Double Edge is a devising company, working with improvisation and free association to form strong visual imagery through pronounced physical movement, which also involves circus skills. This, together with a frequently startling use of objects, is the basis of their magical realism (notably in the unPOSSESSED of 2004, after Don Quixote), a style developed by the company in its rural retreat, and subsequently combined with the tonalities of grotesque surrealism. The Republic of Dreams, for instance, inspired by the life and work of Bruno Schulz, enters the world of vivid dreams, powerful memories, and nostalgic echoes, the whole evoking an evanescent past into which its agile, versatile performers – some singing, some dancing – tune in, like ghosts absent and present in one and the same instance. The two productions noted here are part of what Klein calls a ‘Cycle’ – a grouping of works that have evolved over a number of years as separate pieces, some beginning life as a summer show before they grow and link with the other pieces of a given Cycle, which is almost always a trilogy. Gradual, consistent development is key to the company's work, as is its belief in a distinct company ethos, which its trainees are invited to share. Maria Shevtsova, who enjoyed the Farm's hospitality when she talked with Stacy Klein, holds the Chair in Drama and Theatre Arts at Goldsmiths, University of London, and is the co-editor of New Theatre Quarterly.

e4217123This article aims to discuss the issue of diversity present in school institutions and the need for work aimed at valuing the masses excluded by society, emphasizing the question of the rights of black people and women. Based on the need for work to overcome racism and sexism, we highlight the relevance of continuing training for beginning teachers, as they leave the universities and face the reality of schools, experiencing the “shock of the real”. Our proposal is for teachers to be prepared for a more inclusive performance, developing a critical and accurate look at the role they play in mediating social relations within the classroom, presenting a way of working based on respect for Human Rights, in dialogue intercultural and in valuing the uniqueness of each person. With this intent, the present research, of bibliographic and analytical nature, permeates the historical-social questions of black people and women in society, going through the difficulties of the teaching work at the beginning of their careers, mainly in the domain of content and organization/lesson planning, emphasizing the need for actions aimed at the inclusion of all, challenges that are addressed by authors who deal with the reality of the beginning teacher and the training needs at the beginning of his career. In short, the purpose of this paper is to contribute to research on the themes of human diversity, aiming to problematize the work of teachers and beginners through the prism of human rights.ResumoO presente artigo visa discutir a questão da diversidade presente nas instituições escolares e a necessidade de um trabalho voltado à valorização das massas excluídas pela sociedade, dando ênfase à questão dos direitos dos negros e das mulheres. Partindo da necessidade de um trabalho de superação do racismo, do machismo e do sexismo, destacamos a relevância de formações continuadas para os professores iniciantes, porquanto ao saírem das universidades se deparam com a realidade das escolas, passando pelo “choque do real”. Nossa proposta é que os professores sejam preparados para uma atuação mais inclusiva, desenvolvendo um olhar crítico e acurado acerca do papel que representam na mediação das relações sociais dentro de sala de aula, apresentando uma forma de trabalho pautada no respeito aos Direitos Humanos, no diálogo intercultural e na valorização da singularidade de cada pessoa. Com este intento, a presente pesquisa, de cunho bibliográfico e analítica, permeia as questões histórico-sociais dos negros e das mulheres em sociedade, perpassando pelas dificuldades do trabalho docente em início de carreira, principalmente em se tratando do domínio do conteúdo e da organização/planejamento das aulas, enfatizando a necessidade de ações voltadas à inclusão de todos, desafios estes que são abordados por autores que tratam da realidade do professor iniciante e das necessidades formativas neste início de carreira. Em suma, o intuito do presente trabalho é contribuir para as pesquisas referentes às temáticas da diversidade humana, visando problematizar o trabalho docente e do professor iniciante pelo prisma dos Direitos Humanos.Palavras-chave: Professor iniciante, Necessidade formativa, Diversidade.Keywords: Beginning teacher, Training need, Diversity.ReferencesASSEMBLEIA GERAL DAS NAÇÕES UNIDAS. Declaração Universal dos Direitos Humanos. Paris. 10 dez. 1948. Disponível em: http://www.onu-brasil.org.br/documentos_direitoshumanos.php. Acesso em 19/04/2020BADINTER, Elisabeth. O conflito a mulher e a mãe. Tradução: Vera Lúcia dos Reis. Rio de Janeiro: Record, 2011.BASQUEIRA, Ana Paula; AZZI, Roberta Gurgel. Como futuros professores vislumbram o ensino? Psicologia: ensino & formação | n. 5(2): pp. 2-18, 2014.BEAUVOIR, Simone. O segundo sexo, v. 1. São Paulo: Círculo do Livro, pp. 81-177, 1980.BRASIL. Comitê Nacional de Educação em Direitos Humanos. Plano Nacional de Educação em Direitos Humanos (VENTURI, Gustavo, org.). MEC, Ministério da Justiça, UNESCO, 2007. Disponível em https://www.gov.br/mdh/pt-br/navegue-por-temas/educacao-em-direitos-humanos/plano-nacional-de-educacao-em-direitos-humanos.Acesso em 19/04/2020BRASIL, Congresso (1990). Estatuto da Criança e do Adolescente. São Paulo. Editora Escala. Disponível em: http://www.planalto.gov.br/ccivil_03/leis/l8069.htm Acesso em 19/04/2020BRASIL. Lei nº 9.394 de 20 de dezembro de 1996. 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Entre o discurso pedagógico e ideológico na escola: estereótipos de classe, raça e gênero. In: SEMINÁRIO FAZENDO GÊNERO, 8, 2008. Florianópolis. Disponível em: http://www.fazendogenero.ufsc.br/8/st01.html. Acesso 05 de jul.2019SOUZA, Sawana Araújo Lopes de. O diálogo intercultural e a formação de professores na ANPED (2002-2015): há a inclusão ou exclusão? Revista on- line de Política e Gestão Educacional, v.21, n. esp.2, pp. 1135-1151, nov, 2017.VEENMAN, Simon. Perceived Problems of Beginning Teachers. Review of Educational Research, Catholic University of Nijmegen, v. 54, n. 2, pp. 143-178, 1984.VENCATO, Ana Paula. Diferenças na escola. In.: MISKOLCI, Richard; LEITE JÚNIOR, Jorge (org.). Diferenças na educação: outros aprendizados. São Carlos: Ed UFSCar, 2014.VIANNA, Cláudia Pereira; UNBEHAUM, Sandra. O gênero nas políticas públicas de educação no Brasil: 1988-2002. Cadernos de Pesquisa, v. 34, n. 121, jan./abr., 2004.

Facing the nation issue which is considered associated with the failure of the government in the education sector, on the new Nation Curriculum concept (Kurikulum 2013), there are so many highly thigs containing the character building concept. It became the new challenge for the teachers to quickly change the old mindset that teaching is just to make people smart, but they should give priority to build the students’ characters. The fact from the field is that to change the minset of the teacher is not easy. There are so many researches has been done, that teachers still teaching with old habits or inconventional ways.This is a Research and Development ( R&D ) to character building concept and cultural arts education, especially on dance and drama studies. His research is done towards teachers and elementary students. Through the steps of R&D’s research methods which have olready resulted a Model of Learning Dance and Drama that could be used by the teachers to teach Dance and Drama lesson in school that could help them to build the student’s character.

Alhamra Arts Council is the largest cultural center of Pakistan with international recognition. It has emerged as a center of cultural activities in the last 70 years. Alhamra gave new life to many dying arts. Through the platform of Alhamra, the youth are trained by expert teachers in various arts at a very low cost. People of great academic, literary and social importance have been holding its administrative positions. It is best known for drama. Many renowned artists, especially from the field of drama have been expressing their talent through its platform. Not only fiction or drama, but painting, dance, music, sculpture, all genres of literature and culture were promoted by Alhamra. All the national and religious festivals are also celebrated here and the literary festivals held here, have made it the name of Pakistan abroad. Alhamra has certainly emerged as the face of Pakistani culture.

COVID-19 has brought forth new risks for students and teachers as they navigate how to engage safely with each other. It becomes necessary to consider the role of consent as a daily practice in “post”-pandemic life and explore what consent may offer young people as agents of their own bodies. In this paper, I consider how the emerging field of intimacy choreography (IC) illuminates new possibilities for engaging ethically with others. I situate this exploration in the context of drama education, guided by the following questions: how may IC provide practical tools for fostering consensual interactions amongst students, their peers, and their teachers? How may IC shed light on new ways of living more ethically with others? This paper discusses the potential of IC through the five pillars of rehearsal and performance practice identified by Intimacy Directors and Coordinators (Percy, 2020), supplemented by IC scholarship and professional literature (Ates, 2019; Lehmann, 2018; Morey, 2018; Pace, 2020; Purcell, 2018; Sina, 2014), and reflections on my experiences as a drama teacher working with an IC apprentice and high school students to share observations of how IC promoted consent in rehearsal. This paper will conclude with suggestions for how IC can help teachers support students in a “post”-COVID-19 context.

The article is devoted to the analysis of drama activities as a way of developing students’ communicative skills at all stages of teaching English. Drama activities are an essential component of interactive games. Demand for interactive games containing dramatization and for dramatization itself is constantly growing making teachers use new methods and educational styles. Drama activities can be an efficient way of forming and developing any language skills. All sorts of activities containing acting can help teachers to create communicative situations, which are close to real life. Properly arranged, these games can help the teacher to introduce new vocabulary or a grammar structure, to simplify the teacher’s explanation as well as motivate learners and keep them involved and active during the whole language class. Dramatization may function in various forms and may be used at different stages of teaching a foreign language class. Acting out short dialogues at beginner and elementary levels can be a good way of practicing new grammar structures. The triad teaching format offered by N. McIver can be beneficial for mixed-ability groups. The article proves that the language material used for drama activities can be divided into two groups – real and dramatic or imaginary. Examples from everyday experience can be used to create familiar communicative situations. Such exercises have a practical nature as the learners demonstrate the interaction between people and different services. Close-to-real-life situations are combined with some imaginary or dramatic components. Activities based upon imaginary situations contribute to learners’ better cooperation and provide the opportunity for creating an atmosphere of friendliness and mutual understanding. The exercises based on imaginary situations often require the preparation of lengthy role cards. The dramatization of famous paintings and songs forms another group of communicative activities, suitable for all levels of proficiency. An open, long-term drama activity can maximize creativity and motivation as well as provide an opportunity to develop flexibility in using a foreign language. The drama activities offered in the article are easily adaptable to any language material or teaching format.

The current education system not doing anything for understanding students or helping them in problem solving skills. It provides nothing but only a usual information package to those who pass through the gateways. It is better to diversifying the teaching strategies rather than changing the curriculum for solving this issue. The Theatre Activities which can be used in classrooms are extremely useful in this matter. The theatre has accepted a new approach for creating a bond between classroom learning and drama instruments. The major goal of this attempt is to modify the knowledge, attitude and behaviour of students. The People who have acquired sufficient training are considered as prospective teachers hence, they must be familiar with teaching strategies like Theatre Activities. It is a study conducted among prospective teachers for their opinion about the effectiveness of Theatre Activities. It includes the opinion of prospective teachers about the effectiveness and possibilities of Theatre Activities. The findings of the study reveals that most of the prospective teachers have good awareness about the learning strategies using Theatre Activities. This study reveals that it is very effective to use of Theatre Activities in the classroom for developing good relationship, leadership qualities and multiple intelligence among the students and usage of Theatre Activities are very effective for diversity in classroom and to sustain the learning interest among students.

Special Education teachers are very special people. Even though I have taught 7-12th grade English,high school speech, drama, forensics, debate, and directed a Montessori Middle School teaching allsubjects, Special Education was a whole new world to me. I had been present at IEPs but neverpresented IEPs. I have had special education students in my class with and without paras, but neverhad I taught special education in a self-contained classroom. This past semester, I have been able toadd teaching Special Education English grades 10-12 to my resume. I have presented IEPs,participated in FBAs and created BIPs, which I didn’t even know existed before this semester. I havetaught students with learning disabilities and students with behavior and conduct disorders. I have metparents who have little more skills than their children and parents that have PHDs and are collegeprofessors. All exist in the world of special education.

Art has been a traditional source of informing people about art and culture. Integration of performing arts in education is a modern way of teaching various concepts and theories. The integration of various art forms like dance, drama, music, puppetry, etc. in the classroom teaching learning process makes the environment joyful in which students learn with interest and it makes their learning retentive i.e., long-lasting and transformative which they can apply in their real world. This study shows that the integration of performing art makes learning more enjoyable and meaningful which is supported by several research works. The researcher has also discussed the various strategies to integrate various forms of performing arts at various levels of education in different subjects. Challenges and problems that teachers face in integrating performing arts in classes and their ways to overcome them have also been discussed in the study.

Despite the fact, that literary work of O.P. Chuhuy has already become an object of scientific research by A. Novikov, T. Kononchuk, T. Virchenko and others, drama portrait still remains unnoticed by literary critics. The aim of the author’s research is an attempts to analyze the chosen type of biographical work which requires keeping a specific filling of measure while using actual material and fiction. The peculiarities of using biographical material in the literary work of O.P. Chuhuy, in particular when creating the images of H. Skovoroda, V. Karazin, O. Kurbas, V. Ivasuk and others are surveyed in the article. The main attention is concentrated on analyzing the bibliographical portrait of I.P. Kotlyarevskiy, the famous of the new Ukrainian literature, created by O.P. Chuhuy in his play “Steppe eagle” (which appeared in 2012), reflecting his versatile activity aimed of defending the rights of the Ukrainian people for their identity, realizing cultural and enlightment process in their native language. A high mastery of the author in plot creating, in building up characters, very often by just a few phrases, making up monologs and dialogues, independent of space and time, for that matter, in widely using folklore in confirmed. The important role of drama portrait for achieving of genre diversity of the authors plays is emphasized. The above works by O.P. Chuhuy testify to complete mastery of biographical genre in the process of drama reflection of the reality, great mastery of using techniques and means of poetics, in particular, when choosing conflicts and characters capable of fighting either to a complete victory or failure, achieving maximal tension, unity and concentration of action, expressive psychological characteristics. Thanks to these peculiarities of the play I.P. Kotlyarevskiy as a personality is shown multi-faceted and attractive way so typical of him, closely connected with social and political events of that time, in particular, with the desembrist community and national liberation movement. That is why, the drama portrait created by O.P. Chuhuy in “Steppe eagle” maybe used not only by the teachers of high and secondary schools but also by all admires and masters of literature, music and theatre and hence is worth of being staged by the talented servants of Melpomene.

The intercession of speaking makes us easier to socialize and communicate with other people. This study uses a descriptive qualitative approach with case studies, focusing on learning at Al-Kamal Islamic Boarding School Kunir Blitar and Al-Mawaddah Female Islamic Boarding School 2 Nglegok Blitar, Indonesia. Data collection used three methods in-depth interviews, participant observation, and documentation. Data analysis used the Miles and Huberman method: data collection, data classification, data presentation, and conclusion. The findings of the research: 1) The implementation of strategies used by teachers in developing speaking by creating language organization, designing language learning tools, implementing speaking Arabic in daily activities, evaluating speaking, creating a language environment, and applying continuous monitoring. The strategies used by the teacher in developing kalam include spreading Arabic vocabulary, practicing speeches, reading habits, practicing mahfudzot, learning nahwu and shorof, performing drama, and giving language court contracts. The strategies for developing speaking skills (maharah kalam) will be effective when they are supported by the right approach, an appropriate educational curriculum, an active language environment, and language activities that are interesting and attractive to students.

Abstract Background/Aims During February half-term 2022, seven young people with JIA ranging in age from 11 to 16 coalesced at the Unicorn Theatre in London to participate in a week-long series of workshops exploring filmmaking, digital storytelling, and health. Led by Creative Health PhD researcher Anna Woolf (Royal Central School of Speech and Drama), and Debbie Wilson, Young People’s Project Manager from JIA-at-NRAS, the facilitators engaged the young people in a series of digitally-led practices which allowed the young people to explore their lived experiences in a creatively-led group setting. Utilising TikTok methodologies (Pomerantz, 2021) the young people created and performed content that explored themes of identity and emerging self-hood. The project enabled young people’s understanding of their JIA to be explored in relation to their hopes and fears about their future health, self-management, and ideas about transition. Methods The approach included pre-project qualitative and quantitative surveys detailing young people’s attitudes and experiences to having JIA, semi-structured interviews with the young people and thematic qualitative analysis of filmed stories. Results Young people expressed that they had never met another young person with JIA or arthritis ever before despite several of them attending the same paediatric centres such as Great Ormond Street or the Evelina hospital in London. The project coalesced young people around their collective health conditions and the use of digital mediums made space for places of powerful solidarity between young people experiencing the same health problems. Conclusion Despite young people with JIA having good relationships generally with their doctors and support from their families, the work created by them in the project showed the researcher very clearly that they need much better peer support structures, help and understanding from other adults such as teachers, and in general, more understanding and empathy from the world at large about their lived experience. Utilising TikTok, filmmaking and online creative formats such as meme-making and online journaling, the young people were clearly engaged and adeptly expert at producing creative testimony and performance which illustrated their experiences of health. Assumptions such as believing that young people struggled with their patient-doctor relationships were replaced with a real understanding of the young people’s struggles, such as learning that teachers and other adults in the world are far more problematic, oftentimes labelling them as lazy or difficult for not participating in life in ways that their fully able-bodied peers do. The researcher also learnt much more about the effects of poor mental health that JIA engenders for young people with arthritis and reflected on the need for more creative peer-led spaces to explore this. Disclosure A. Woolf: None. D. Wilson: None.

Abstract Although they may have learned the norms and practices of fiqh at home and in school, most Muslims have scant knowledge of the ways in which their religious laws and mores were practiced in pre-modern times. Indeed, when it comes to imagining and understanding the role of fiqh in earlier Muslim societies, many contemporary Muslims get their information through fictional treatments, particularly from films and television dramas. For Arab Muslims, the relevant medium here is the musalsal, the 30-episode Ramadan drama. This article is a preliminary investigation into the role of fiqh in Egyptian historical films and musalsalāt. Based on collected scenes of fiqh – judges passing sentences, muftis issuing fatwas, teachers instructing, and student discussions – it identifies the issues at stake and analyzes the style of argumentation, the exercise of authority, and the general image of a fiqh-based society created in films and dramas. While the fuqahāʾ only play a minor role in Egyptian film, they are prominent in Arabic historical and religious musalsalāt, often, but not exclusively, produced in Egypt. In these two genres, we have biopics of major religio-legal figures, such as the founders of the four legal schools, major theologians, 19th century reformers, and a few modern ʿulamaʾ. Tracing the evolving treatment of fiqh and fuqahāʾ from the early dramas of the 1980s up to today, this article focuses on the themes of judicial independence, justice for the poor, corruption, and the intellectual process behind rulings. It argues that, overall, the lesson of the musalsalāt is a positive one: Shariʿa works, authoritarian rule has the capacity to be enlightened, and the key to effective leadership is appointing the right people to govern, or judge. The article concludes by discussing these messages in a contemporary Egyptian setting.

What began as a simple request for a book by one of my former students, at times, has not been so simple. The student, whom I refer to as Carla (name changed), hoped to read about characters similar to herself and her friends. As a teacher, I have often tried to hook my students on reading by presenting books with characters to which they can relate. These books can help increase their overall knowledge of the world, open their minds to multiple realities and variations of the human experience and provide scenarios in which they can live vicariously. Carla’s request was a bit more complicated than I had imagined. As a “Deaf” student who attended a state school for the Deaf and who viewed herself as a member of a linguistic cultural minority, she expected to read a book with characters who used American Sign Language and who participated as members within the Deaf Community. She did not want to read didactic books about deafness but wanted books with unpredictable plots and believable characters. Having graduated from a teacher-preparation program in Deaf Education, I had read numerous books about deafness. While memoirs and biographical selections had been relatively easy to acquire and were on my bookshelf, I had not once read any fictional books for adolescents that included a deaf character. (I refer to ‘Deaf’ as representing individuals who identify in a linguistic, cultural minority group. The term ‘deaf’ is used as a more generic term given to individuals with some degree of hearing loss. In other articles, ‘deaf’ has been used pejoratively or in connection to a view by those who believe one without the sense of hearing is inferior or lacking. I do not believe or wish to imply that. ) As a High School teacher with so many additional work responsibilities outside of classroom teaching, finding fictional books with deaf characters was somewhat of a challenge. Nevertheless, after some research I was able to recommend a book that I thought would be a good summer read. Nancy Butts’ Cheshire Moon (1992) is charming book about thirteen-year-old Miranda who is saddened by her cousin’s death and furious at her parents' insistence that she speak rather than sign. The plot turns slightly mystical when the teens begin having similar dreams under the “Cheshire moon”. Yet, the story is about Miranda, a deaf girl, who struggles with communication. Without her cousin, the only member of her family who was fluent in sign language, communication is difficult and embarrassing. Miranda feels isolated, alienated, and unsure of herself. Because of the main character’s age, the book was not the best recommendation for a high school student; however, when Carla finished Cheshire Moon, she asked for another book with Deaf characters. Problem & Purpose Historically, authors have used deafness as a literary device to relay various messages about the struggles of humankind and elicit sympathy from readers (Batson & Bergman; Bergman; Burns; Krentz; Panara; Taylor, "Deaf Characters" I, II, III; Schwartz; Wilding-Diaz). In recent decades, however, the general public’s awareness of and perhaps interest in deaf people has risen along with that of our increasingly multicultural world. Educational legislation has increased awareness of the deaf as has news coverage of Gallaudet University protests. In addition, Deaf people have benefited from advances in communicative technology, such as Video Relay (VRS) and instant messaging pagers, more coordinated interpreting services and an increase in awareness of American Sign Language. Authors are incorporating more deaf characters than they did in the past. However, this increase does not necessarily translate to an increase in understanding of the deaf, nor does it translate to the most accurate, respectably, well-rounded characterization of the deaf (Pajka-West, "Perceptions"). Acquiring fictional books that include deaf characters can be time-consuming and challenging for teachers and librarians. The research examining deaf characters in fiction is extremely limited (Burns; Guella; Krentz; Wilding-Diaz). The most recent articles predominately focus on children’s literature — specifically picture books (Bailes; Brittain). Despite decades of research affirming culturally authentic children’s literature and the merits of multicultural literature, a coexisting body of research reveals the lack of culturally authentic texts (Applebee; Campbell & Wirtenberg; Ernest; Larrick; Sherriff; Taxel). Moreover, children’s books with deaf characters are used as informational depictions of deaf individuals (Bockmiller, 1980). Readers of such resource books, typically parents, teachers and their students, gain information about deafness and individuals with “disabilities” (Bockmiller, 1980; Civiletto & Schirmer, 2000). If an important purpose for deaf characters in fiction is educational and informational, then there is a need for the characters to be presented as realistic models of deaf people. If not, the readers of such fiction gain inaccurate information about deafness including reinforced negative stereotypes, as can occur in any other literature portraying cultural minorities (Pajka-West, "Perceptions"). Similar to authors’ informational depictions, writers also reveal societal understanding of groups of people through their fiction (Banfield & Wilson; Panara; Rudman). Literature has often stigmatized minority culture individuals based upon race, ethnicity, disability, gender and/or sexual orientation. While readers might recognize the negative depictions and dismiss them as harmless stereotypes, these portrayals could become a part of the unconscious of members of our society. If books continually reinforce stereotypical depictions of deaf people, individuals belonging to the group might be typecast and discouraged into a limited way of being. As an educator, I want all of my students to have unlimited opportunities for the future, not disadvantaged by stereotypes. The Study For my doctoral dissertation, I examined six contemporary adolescent literature books with deaf characters. The research methodology for this study required book selection, reader sample selection, instrument creation, book analysis, questionnaire creation, and data analysis. My research questions included: 1) Are deaf characters being presented as culturally Deaf characters or as pathologically deaf and disabled; 2) Do these readers favor deaf authors over hearing ones? If so, why; and, 3) How do deaf and hearing adult readers perceive deaf characters in adolescent literature? The Sample The book sample included 102 possible books for the study ranging from adolescent to adult selections. I selected books that were recognized as suitable for middle school or high school readers based upon the reading and interest levels established by publishers. The books also had to include main characters who are deaf and deaf characters who are human. The books selected were all realistic fiction, available to the public, and published or reissued for publication within the last fifteen years. The six books that were selected included: Nick’s Secret by C. Blatchford; A Maiden’s Grave by J. Deaver; Of Sound Mind by J. Ferris; Deaf Child Crossing by M. Matlin; Apple Is My Sign by M. Riskind; and Finding Abby by V. Scott. For the first part of my study, I analyzed these texts using the Adolescent Literature Content Analysis Check-off Form (ALCAC) which includes both pathological and cultural perspective statements derived from Deaf Studies, Disability Studies and Queer Theory. The participant sample included adult readers who fit within three categories: those who identified as deaf, those who were familiar with or had been acquaintances with deaf individuals, and those who were unfamiliar having never associated with deaf individuals. Each participant completed a Reader-Response Survey which included ten main questions derived from Deaf Studies and Schwartz’ ‘Criteria for Analyzing Books about Deafness’. The survey included both dichotomous and open-ended questions. Research Questions & Methodology Are deaf characters being presented as culturally Deaf or as pathologically deaf and disabled? In previous articles, scholars have stated that most books with deaf characters include a pathological perspective; yet, few studies actually exist to conclude this assertion. In my study, I analyzed six books to determine whether they supported the cultural or the pathological perspective of deafness. The goal was not to exclusively label a text either/or but to highlight the distinct perspectives to illuminate a discussion regarding a deaf character. As before mentioned, the ALCAC instrument incorporates relevant theories and prior research findings in reference to the portrayals of deaf characters and was developed to specifically analyze adolescent literature with deaf characters. Despite the historical research regarding deaf characters and due to the increased awareness of deaf people and American Sign Language, my initial assumption was that the authors of the six adolescent books would present their deaf characters as more culturally ‘Deaf’. This was confirmed for the majority of the books. I believed that an outsider, such as a hearing writer, could carry out an adequate portrayal of a culture other than his own. In the past, scholars did not believe this was the case; however, the results from my study demonstrated that the majority of the hearing authors presented the cultural perspective model. Initially shocking, the majority of deaf authors incorporated the pathological perspective model. I offer three possible reasons why these deaf authors included more pathological perspective statements while the hearing authors include more cultural perspective statements: First, the deaf authors have grown up deaf and perhaps experienced more scenarios similar to those presented from the pathological perspective model. Even if the deaf authors live more culturally Deaf lifestyles today, authors include their experiences growing up in their writing. Second, there are less deaf characters in the books written by deaf authors and more characters and more character variety in the books written by the hearing authors. When there are fewer deaf characters interacting with other deaf characters, these characters tend to interact with more hearing characters who are less likely to be aware of the cultural perspective. And third, with decreased populations of culturally Deaf born to culturally Deaf individuals, it seems consistent that it may be more difficult to obtain a book from a Deaf of Deaf author. Similarly, if we consider the Deaf person’s first language is American Sign Language, Deaf authors may be spending more time composing stories and poetry in American Sign Language and less time focusing upon English. This possible lack of interest may make the number of ‘Deaf of Deaf’ authors, or culturally Deaf individuals raised by culturally Deaf parents, who pursue and are successful publishing a book in adolescent literature low. At least in adolescent literature, deaf characters, as many other minority group characters, are being included in texts to show young people our increasingly multicultural world. Adolescent literature readers can now become aware of a range of deaf characters, including characters who use American Sign Language, who attend residential schools for the Deaf, and even who have Deaf families. Do the readers favor deaf authors over hearing ones? A significant part of my research was based upon the perceptions of adult readers of adolescent literature with deaf characters. I selected participants from a criterion sampling and divided them into three groups: 1. Adults who had attended either a special program for the deaf or a residential school for the deaf, used American Sign Language, and identified themselves as deaf were considered for the deaf category of the study; 2. Adults who were friends, family members, co-workers or professionals in fields connected with individuals who identify themselves as deaf were considered for the familiar category of the study; and, 3. hearing adults who were not aware of the everyday experiences of deaf people and who had not taken a sign language class, worked with or lived with a deaf person were considered for the unfamiliar category of the study. Nine participants were selected for each group totaling 27 participants (one participant from each of the groups withdrew before completion, leaving eight participants from each of the groups to complete the study). To elicit the perspectives of the participants, I developed a Reader Response survey which was modeled after Schwartz’s ‘Criteria for Analyzing Books about Deafness’. I assumed that the participants from Deaf and Familiar groups would prefer the books written by the deaf authors while the unfamiliar participants would act more as a control group. This was not confirmed through the data. In fact, the Deaf participants along with the participants as a whole preferred the books written by the hearing authors as better describing their perceptions of realistic deaf people, for presenting deaf characters adequately and realistically, and for the hearing authors’ portrayals of deaf characters matching with their perceptions of deaf people. In general, the Deaf participants were more critical of the deaf authors while the familiar participants, although as a group preferred the books by the hearing authors, were more critical of the hearing authors. Participants throughout all three groups mentioned their preference for a spectrum of deaf characters. The books used in this study that were written by hearing authors included a variety of characters. For example, Riskind’s Apple Is My Sign includes numerous deaf students at a school for the deaf and the main character living within a deaf family; Deaver’s A Maiden’s Grave includes deaf characters from a variety of backgrounds attending a residential school for the deaf and only a few hearing characters; and Ferris’ Of Sound Mind includes two deaf families with two CODA or hearing teens. The books written by the deaf authors in this study include only a few deaf characters. For example, Matlin’s Deaf Child Crossing includes two deaf girls surrounded by hearing characters; Scott’s Finding Abby includes more minor deaf characters but readers learn about these characters from the hearing character’s perspective. For instance, the character Jared uses sign language and attends a residential school for the deaf but readers learn this information from his hearing mother talking about him, not from the deaf character’s words. Readers know that he communicates through sign language because we are told that he does; however, the only communication readers are shown is a wave from the child; and, Blatchford’s Nick’s Secret includes only one deaf character. With the fewer deaf characters it is nearly impossible for the various ways of being deaf to be included in the book. Thus, the preference for the books by the hearing authors is more likely connected to the preference for a variety of deaf people represented. How do readers perceive deaf characters? Participants commented on fourteen main and secondary characters. Their perceptions of these characters fall into six categories: the “normal” curious kid such as the characters Harry (Apple Is My Sign), Jeremy (Of Sound Mind) and Jared (Finding Abby); the egocentric spoiled brat such as Palma (Of Sound Mind) and Megan (Deaf Child Crossing); the advocate such as Harry’s mother (Apple Is My Sign) and Susan (A Maiden’s Grave); those dependent upon the majority culture such as Palma (Of Sound Mind) and Lizzie (Deaf Child Crossing); those isolated such as Melissa (Finding Abby), Ben (Of Sound Mind), Nick (Nick’s Secret) and Thomas (Of Sound Mind); and, those searching for their identities such as Melanie (A Maiden’s Grave) and Abby (Finding Abby). Overall, participants commented more frequently about the deaf characters in the books by the hearing authors (A Maiden’s Grave; Of Sound Mind; Apple Is My Sign) and made more positive comments about the culturally Deaf male characters, particularly Ben Roper, Jeremy and Thomas of Of Sound Mind, and Harry of Apple Is My Sign. Themes such as the characters being dependent and isolated from others did arise. For example, Palma in Of Sound Mind insists that her hearing son act as her personal interpreter so that she can avoid other hearing people. Examples to demonstrate the isolation some of the deaf characters experience include Nick of Nick’s Secret being the only deaf character in his story and Ben Roper of Of Sound Mind being the only deaf employee in his workplace. While these can certainly be read as negative situations the characters experience, isolation is a reality that resonates in some deaf people’s experiences. With communicative technology and more individuals fluent in American Sign Language, some deaf individuals may decide to associate more with individuals in the larger culture. One must interpret purposeful isolation such as Ben Roper’s (Of Sound Mind) case, working in a location that provides him with the best employment opportunities, differently than Melissa Black’s (Finding Abby) isolating feelings of being left out of family dinner discussions. Similarly, variations in characterization including the egocentric, spoiled brat and those searching for their identities are common themes in adolescent literature with or without deaf characters being included. Positive examples of deaf characters including the roles of the advocate such as Susan (A Maiden’s Grave) and Harry’s mother (Apple Is My Sign), along with descriptions of regular everyday deaf kids increases the varieties of deaf characters. As previously stated, my study included an analysis based on literary theory and prior research. At that time, unless the author explicitly told readers in a foreword or a letter to readers, I had no way of truly knowing why the deaf character was included and why the author made such decisions. This uncertainty of the author’s decisions changed for me in 2007 with the establishment of my educational blog. Beginning to Blog When I started my educational blog Deaf Characters in Adolescent Literature in February 2007, I did not plan to become a blogger nor did I have any plans for my blog. I simply opened a Blogger account and added a list of 106 books with deaf characters that was connected to my research. Once I started blogging on a regular basis, I discovered an active audience who not only read what I wrote but who truly cared about my research. Blogging had become a way for me to keep my research current; since my blog was about deaf characters in adolescent literature, it became an advocacy tool that called attention to authors and books that were not widely publicized; and, it enabled me to become part of a cyber community made up of other bloggers and readers. After a few months of blogging on a weekly basis, I began to feel a sense of obligation to research and post my findings. While continuing to post to my blog, I have acquired more information about my research topic and even received advance reader copies prior to the books’ publication dates. This enables me to discuss the most current books. It also enables my readers to learn about such books. My blog acts as free advertisement for the publishing companies and authors. I currently have 195 contemporary books with deaf characters and over 36 author and professional interviews. While the most rewarding aspect of blogging is connecting with readers, there have been some major highlights in the process. As I stated, I had no way of knowing why the deaf character was included in the books until I began interviewing the authors. I had hoped that the hearing authors of books with deaf characters would portray their characters realistically but I had not realized the authors’ personal connections to actual deaf people. For instance, Delia Ray, Singing Hands, wrote about a Deaf preacher and his family. Her book was based on her grandfather who was a Deaf preacher and leading pioneer in the Deaf Community. Ray is not the only hearing author who has a personal connection to deaf people. Other examples include: Jean Ferris, Of Sound Mind, who earned a degree in Speech Pathology and Audiology. Ferris’ book includes only two hearing characters, the majority are Deaf. All of her characters are also fluent in American Sign Language; Jodi Cutler Del Dottore, Rally Caps, who includes a deaf character named Luca who uses a cochlear implant. Luca is based on Cutler Del Dottore’s son, Jordan, who also has a cochlear implant; finally, Jacqueline Woodson, Feathers, grew up in a community that included deaf people who did not use sign language. As an adult, she met members of the Deaf Community and began learning American Sign Language herself. Woodson introduces readers to Sean who is attractive, funny, and intelligent. In my study, I noted that all of the deaf characters where not diverse based upon race, ethnicity, and socio-economic status (Pajka-West, "Perceptions"). Sean is the first Deaf American-African character in adolescent literature who uses sign language to communicate. Another main highlight is finding Deaf authors who do not receive the mainstream press that other authors might receive. For example, Ann Clare LeZotte, T4, introduces readers to main character Paula Becker, a thirteen year old deaf girl who uses sign language and lipreading to communicate. Through verse, we learn of Paula’s life in Germany during Hitler’s time as she goes into hiding since individuals with physical and mental disabilities were being executed under the orders of Hitler’s Tiergartenstrasse 4 (T4). One additional highlight is that I learn about insider tips and am then able to share this information with my blog readers. In one instance I began corresponding with Marvel Comic’s David Mack, the creator of Echo, a multilingual, biracial, Deaf comic book character who debuted in Daredevil and later The New Avengers. In comics, it is Marvel who owns the character; while Echo was created for Daredevil by Mack, she later appears in The New Avengers. In March 2008, discussion boards were buzzing since issue #39 would include original creator, Mack, among other artists. To make it less complicated for those who do not follow comics, the issue was about whether or not Echo had become a skrull, an alien who takes over the body of the character. This was frightening news since potentially Echo could become a hearing skrull. I just did not believe that Mack would let that happen. My students and I held numerous discussions about the implications of Marvel’s decisions and finally I sent Mack an email. While he could not reveal the details of the issue, he did assure me that my students and I would be pleased. I’m sure there was a collective sigh from readers once his email was published on the blog. Final Thoughts While there have been pejorative depictions of the deaf in literature, the portrayals of deaf characters in adolescent literature have become much more realistic in the last decade. Authors have personal connections with actual deaf individuals which lend to the descriptions of their deaf characters; they are conducting more detailed research to develop their deaf characters; and, they appear to be much more aware of the Deaf Community than they were in the past. A unique benefit of the genre is that authors of adolescent literature often give the impression of being more available to the readers of their books. Authors often participate in open dialogues with their fans through social networking sites or discussion boards on their own websites. After posting interviews with the authors on my blog, I refer readers to the author’s on site whether it through personal blogs, websites, Facebook or Twitter pages. While hearing authors’ portrayals now include a spectrum of deaf characters, we must encourage Deaf and Hard of Hearing writers to include more deaf characters in their works. Consider again my student Carla and her longing to find books with deaf characters. Deaf characters in fiction act as role models for young adults. A positive portrayal of deaf characters benefits deaf adolescents whether or not they see themselves as biologically deaf or culturally deaf. Only through on-going publishing, more realistic and positive representations of the deaf will occur. References Bailes, C.N. "Mandy: A Critical Look at the Portrayal of a Deaf Character in Children’s Literature." Multicultural Perspectives 4.4 (2002): 3-9. Batson, T. "The Deaf Person in Fiction: From Sainthood to Rorschach Blot." Interracial Books for Children Bulletin 11.1-2 (1980): 16-18. Batson, T., and E. Bergman. Angels and Outcasts: An Anthology of Deaf Characters in Literature. Washington, D.C.: Gallaudet University Press (1985). Bergman, E. "Literature, Fictional characters in." In J.V. Van Cleve (ed.), Gallaudet Encyclopedia of Deaf People & Deafness. Vol. 2. Washington, D.C.: McGraw Hill, 1987. 172-176. Brittain, I. "An Examination into the Portrayal of Deaf Characters and Deaf Issues in Picture Books for Children." Disability Studies Quarterly 24.1 (Winter 2004). 24 Apr. 2005 < http://www.dsq-sds.org >. Burns, D.J. An Annotated Checklist of Fictional Works Which Contain Deaf Characters. Unpublished master’s thesis. Washington, D.C.: Gallaudet University,1950. Campbell, P., and J. Wirtenberg. How Books Influence Children: What the Research Shows. Interracial Books for Children Bulletin 11.6 (1980): 3-6. Civiletto, C.L., and B.R. Schirmer. "Literature with Characters Who Are Deaf." The Dragon Lode 19.1 (Fall 2000): 46-49. Guella, B. "Short Stories with Deaf Fictional Characters." American Annals of the Deaf 128.1 (1983): 25-33. Krentz, C. "Exploring the 'Hearing Line': Deafness, Laughter, and Mark Twain." In S. L. Snyder, B. J. Brueggemann, and R. Garland-Thomson, eds., Disability Studies: Enabling the Humanities. New York: Modern Language Association of America, 2002. 234-247. Larrick, N. "The All-White World of Children's Books. Saturday Review 11 (1965): 63-85. Pajka-West, S. “The Perceptions of Deaf Characters in Adolescent Literature”. The ALAN Review 34.3 (Summer 2007): 39-45. ———. "The Portrayals and Perceptions of Deaf Characters in Adolescent Literature." Ph.D. dissertation. University of Virginia, 2007. ———. "Interview with Deaf Author Ann Clare LeZotte about T4, Her Forthcoming Book Told in Verse." Deaf Characters in Adolescent Literature, 5 Aug. 2008. < http://pajka.blogspot.com/ 2008/08/interview-with-deaf-author-ann-clare.html >.———. "Interview with Delia Ray, Author of Singing Hands." Deaf Characters in Adolescent Literature, 23 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-delia-ray-author-of.html >.———. "Interview with Jacqueline Woodson, author of Feathers." Deaf Characters in Adolescent Literature, 29 Sep. 2007. < http://pajka.blogspot.com/ 2007/09/interview-with-jacqueline-woodson.html >. ———. "Interview with Jodi Cutler Del Dottore, author of Rally Caps." Deaf Characters in Adolescent Literature, 13 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-jodi-cutler-del-dottore.html >. Panara, R. "Deaf Characters in Fiction and Drama." The Deaf American 24.5 (1972): 3-8. Schwartz, A.V. "Books Mirror Society: A Study of Children’s Materials." Interracial Books for Children Bulletin 11.1-2 (1980): 19-24. Sherriff, A. The Portrayal of Mexican American Females in Realistic Picture Books (1998-2004). University of North Carolina, Chapel Hill: 2005. Taxel, J. "The Black Experience in Children's Fiction: Controversies Surrounding Award Winning Books." Curriculum Inquiry 16 (1986): 245-281. Taylor, G.M. "Deaf Characters in Short Stories: A Selective Bibliography. The Deaf American 26.9 (1974): 6-8. ———. "Deaf Characters in Short Stories: A Selective Bibliography II." The Deaf American 28.11 (1976): 13-16.———. "Deaf Characters in Short Stories: A Selective Bibliography III." The Deaf American 29.2 (1976): 27-28. Wilding-Diaz, M.M. Deaf Characters in Children’s Books: How Are They Portrayed? Unpublished master’s thesis. Provo, Utah: Brigham Young University, 1993.———. "Deaf Characters in Children’s Books: How Are They Perceived?" In Gallaudet University College for Continuing Education and B.D. Snider (eds.), Journal: Post Milan ASL & English Literacy: Issues, Trends & Research Conference Proceedings, 20-22 Oct. 1993.Adolescent Fiction Books Blatchford, C. Nick’s Secret. Minneapolis, MN: Lerner, 2000. Deaver, J. A Maiden’s Grave. New York: Signet, 1996. Ferris, J. Of Sound Mind. New York: Sunburst, 2004. Matlin, M. Deaf Child Crossing. New York: Aladdin Paperbacks, 2004. Riskind, M. Apple Is My Sign. Boston, MA: Houghton Mifflin, 1981. Scott, V. Finding Abby. Hillsboro, OR: Butte, 2000.

1. Guy Debord in the Land of the Long WeekendIt’s the weekend – leisure time. It’s the interlude when, Guy Debord contends, the proletarian is briefly free of the “total contempt so clearly built into every aspect of the organization and management of production” in commodity capitalism; when workers are temporarily “treated like grown-ups, with a great show of solicitude and politeness, in their new role as consumers.” But this patronising show turns out to be another form of subjection to the diktats of “political economy”: “the totality of human existence falls under the regime of the ‘perfected denial of man’.” (30). As Debord suggests, even the creation of leisure time and space is predicated upon a form of contempt: the “perfected denial” of who we, as living people, really are in the eyes of those who presume the power to legislate our working practices and private identities.This Saturday The Weekend Australian runs an opinion piece by Christopher Pearson, defending ABC Radio National’s Stephen Crittenden, whose program The Religion Report has been axed. “Some of Crittenden’s finest half-hours have been devoted to Islam in Australia in the wake of September 11,” Pearson writes. “Again and again he’s confronted a left-of-centre audience that expected multi-cultural pieties with disturbing assertions.” Along the way in this admirable Crusade, Pearson notes that Crittenden has exposed “the Left’s recent tendency to ally itself with Islam.” According to Pearson, Crittenden has also thankfully given oxygen to claims by James Cook University’s Mervyn Bendle, the “fairly conservative academic whose work sometimes appears in [these] pages,” that “the discipline of critical terrorism studies has been captured by neo-Marxists of a postmodern bent” (30). Both of these points are well beyond misunderstanding or untested proposition. If Pearson means them sincerely he should be embarrassed and sacked. But of course he does not and will not be. These are deliberate lies, the confabulations of an eminent right-wing culture warrior whose job is to vilify minorities and intellectuals (Bendle escapes censure as an academic because he occasionally scribbles for the Murdoch press). It should be observed, too, how the patent absurdity of Pearson’s remarks reveals the extent to which he holds the intelligence of his readers in contempt. And he is not original in peddling these toxic wares.In their insightful—often hilarious—study of Australian opinion writers, The War on Democracy, Niall Lucy and Steve Mickler identify the left-academic-Islam nexus as the brain-child of former Treasurer-cum-memoirist Peter Costello. The germinal moment was “a speech to the Australian American Leadership Dialogue forum at the Art Gallery of NSW in 2005” concerning anti-Americanism in Australian schools. Lucy and Mickler argue that “it was only a matter of time” before a conservative politician or journalist took the plunge to link the left and terrorism, and Costello plunged brilliantly. He drew a mental map of the Great Chain of Being: left-wing academics taught teacher trainees to be anti-American; teacher trainees became teachers and taught kids to be anti-American; anti-Americanism morphs into anti-Westernism; anti-Westernism veers into terrorism (38). This is contempt for the reasoning capacity of the Australian people and, further still, contempt for any observable reality. Not for nothing was Costello generally perceived by the public as a politician whose very physiognomy radiated smugness and contempt.Recycling Costello, Christopher Pearson’s article subtly interpellates the reader as an ordinary, common-sense individual who instinctively feels what’s right and has no need to think too much—thinking too much is the prerogative of “neo-Marxists” and postmodernists. Ultimately, Pearson’s article is about channelling outrage: directing the down-to-earth passions of the Australian people against stock-in-trade culture-war hate figures. And in Pearson’s paranoid world, words like “neo-Marxist” and “postmodern” are devoid of historical or intellectual meaning. They are, as Lucy and Mickler’s War on Democracy repeatedly demonstrate, mere ciphers packed with the baggage of contempt for independent critical thought itself.Contempt is everywhere this weekend. The Weekend Australian’s colour magazine runs a feature story on Malcolm Turnbull: one of those familiar profiles designed to reveal the everyday human touch of the political classes. In this puff-piece, Jennifer Hewett finds Turnbull has “a restless passion for participating in public life” (20); that beneath “the aggressive political rhetoric […] behind the journalist turned lawyer turned banker turned politician turned would-be prime minister is a man who really enjoys that human interaction, however brief, with the many, many ordinary people he encounters” (16). Given all this energetic turning, it’s a wonder that Turnbull has time for human interactions at all. The distinction here of Turnbull and “many, many ordinary people” – the anonymous masses – surely runs counter to Hewett’s brief to personalise and quotidianise him. Likewise, those two key words, “however brief”, have an unfortunate, unintended effect. Presumably meant to conjure a picture of Turnbull’s hectic schedules and serial turnings, the words also convey the image of a patrician who begrudgingly knows one of the costs of a political career is that common flesh must be pressed—but as gingerly as possible.Hewett proceeds to disclose that Turnbull is “no conservative cultural warrior”, “onfounds stereotypes” and “hates labels” (like any baby-boomer rebel) and “has always read widely on political philosophy—his favourite is Edmund Burke”. He sees the “role of the state above all as enabling people to do their best” but knows that “the main game is the economy” and is “content to play mainstream gesture politics” (19). I am genuinely puzzled by this and imagine that my intelligence is being held in contempt once again. That the man of substance is given to populist gesturing is problematic enough; but that the Burke fan believes the state is about personal empowerment is just too much. Maybe Turnbull is a fan of Burke’s complex writings on the sublime and the beautiful—but no, Hewett avers, Turnbull is engaged by Burke’s “political philosophy”. So what is it in Burke that Turnbull finds to favour?Turnbull’s invocation of Edmund Burke is empty, gestural and contradictory. The comfortable notion that the state helps people to realise their potential is contravened by Burke’s view that the state functions so “the inclinations of men should frequently be thwarted, their will controlled, and their passions brought into subjection… by a power out of themselves” (151). Nor does Burke believe that anyone of humble origins could or should rise to the top of the social heap: “The occupation of an hair-dresser, or of a working tallow-chandler, cannot be a matter of honour to any person… the state suffers oppression, if such as they, either individually or collectively, are permitted to rule” (138).If Turnbull’s main game as a would-be statesman is the economy, Burke profoundly disagrees: “the state ought not to be considered as nothing better than a partnership agreement in a trade of pepper and coffee, callico or tobacco, or some other such low concern… It is a partnership in all science; a partnership in all art; a partnership in every virtue, and in all perfection”—a sublime entity, not an economic manager (194). Burke understands, long before Antonio Gramsci or Louis Althusser, that individuals or social fractions must be made admirably “obedient” to the state “by consent or force” (195). Burke has a verdict on mainstream gesture politics too: “When men of rank sacrifice all ideas of dignity to an ambition without a distinct object, and work with low instruments and for low ends, the whole composition [of the state] becomes low and base” (136).Is Malcolm Turnbull so contemptuous of the public that he assumes nobody will notice the gross discrepancies between his own ideals and what Burke stands for? His invocation of Burke is, indeed, “mainstream gesture politics”: on one level, “Burke” signifies nothing more than Turnbull’s performance of himself as a deep thinker. In this process, the real Edmund Burke is historically erased; reduced to the status of stage-prop in the theatrical production of Turnbull’s mass-mediated identity. “Edmund Burke” is re-invented as a term in an aesthetic repertoire.This transmutation of knowledge and history into mere cipher is the staple trick of culture-war discourse. Jennifer Hewett casts Turnbull as “no conservative culture warrior”, but he certainly shows a facility with culture-war rhetoric. And as much as Turnbull “confounds stereotypes” his verbal gesture to Edmund Burke entrenches a stereotype: at another level, the incantation “Edmund Burke” is implicitly meant to connect Turnbull with conservative tradition—in the exact way that John Howard regularly self-nominated as a “Burkean conservative”.This appeal to tradition effectively places “the people” in a power relation. Tradition has a sublimity that is bigger than us; it precedes us and will outlast us. Consequently, for a politician to claim that tradition has fashioned him, that he is welded to it or perhaps even owns it as part of his heritage, is to glibly imply an authority greater than that of “the many, many ordinary people”—Burke’s hair-dressers and tallow-chandlers—whose company he so briefly enjoys.In The Ideology of the Aesthetic, Terry Eagleton assesses one of Burke’s important legacies, placing him beside another eighteenth-century thinker so loved by the right—Adam Smith. Ideology of the Aesthetic is premised on the view that “Aesthetics is born as a discourse of the body”; that the aesthetic gives form to the “primitive materialism” of human passions and organises “the whole of our sensate life together… a society’s somatic, sensational life” (13). Reading Smith’s Theory of Moral Sentiments, Eagleton discerns that society appears as “an immense machine, whose regular and harmonious movements produce a thousand agreeable effects”, like “any production of human art”. In Smith’s work, the “whole of social life is aestheticized” and people inhabit “a social order so spontaneously cohesive that its members no longer need to think about it.” In Burke, Eagleton discovers that the aesthetics of “manners” can be understood in terms of Gramscian hegemony: “in the aesthetics of social conduct, or ‘culture’ as it would later be called, the law is always with us, as the very unconscious structure of our life”, and as a result conformity to a dominant ideological order is deeply felt as pleasurable and beautiful (37, 42). When this conservative aesthetic enters the realm of politics, Eagleton contends, the “right turn, from Burke” onwards follows a dark trajectory: “forget about theoretical analysis… view society as a self-grounding organism, all of whose parts miraculously interpenetrate without conflict and require no rational justification. Think with the blood and the body. Remember that tradition is always wiser and richer than one’s own poor, pitiable ego. It is this line of descent, in one of its tributaries, which will lead to the Third Reich” (368–9).2. Jean Baudrillard, the Nazis and Public MemoryIn 1937, during the Spanish Civil War, the Third Reich’s Condor Legion of the Luftwaffe was on loan to Franco’s forces. On 26 April that year, the Condor Legion bombed the market-town of Guernica: the first deliberate attempt to obliterate an entire town from the air and the first experiment in what became known as “terror bombing”—the targeting of civilians. A legacy of this violence was Pablo Picasso’s monumental canvas Guernica – the best-known anti-war painting in art history.When US Secretary of State Colin Powell addressed the United Nations on 5 February 2003 to make the case for war on Iraq, he stopped to face the press in the UN building’s lobby. The doorstop was globally televised, packaged as a moment of incredible significance: history in the making. It was also theatre: a moment in which history was staged as “event” and the real traces of history were carefully erased. Millions of viewers world-wide were undoubtedly unaware that the blue backdrop before which Powell stood was specifically designed to cover the full-scale tapestry copy of Picasso’s Guernica. This one-act, agitprop drama was a splendid example of politics as aesthetic action: a “performance” of history in the making which required the loss of actual historical memory enshrined in Guernica. Powell’s performance took its cues from the culture wars, which require the ceaseless erasure of history and public memory—on this occasion enacted on a breathtaking global, rather than national, scale.Inside the UN chamber, Powell’s performance was equally staged-crafted. As he brandished vials of ersatz anthrax, the power-point behind him (the theatrical set) showed artists’ impressions of imaginary mobile chemical weapons laboratories. Powell was playing lead role in a kind of populist, hyperreal production. It was Jean Baudrillard’s postmodernism, no less, as the media space in which Powell acted out the drama was not a secondary representation of reality but a reality of its own; the overheads of mobile weapons labs were simulacra, “models of a real without origins or reality”, pictures referring to nothing but themselves (2). In short, Powell’s performance was anchored in a “semiurgic” aesthetic; and it was a dreadful real-life enactment of Walter Benjamin’s maxim that “All efforts to render politics aesthetic culminate in one thing: war” (241).For Benjamin, “Fascism attempts to organize the newly created proletarian masses without affecting the property structure which the masses strive to eliminate.” Fascism gave “these masses not their right, but instead a chance to express themselves.” In turn, this required “the introduction of aesthetics into politics”, the objective of which was “the production of ritual values” (241). Under Adolf Hitler’s Reich, people were able to express themselves but only via the rehearsal of officially produced ritual values: by their participation in the disquisition on what Germany meant and what it meant to be German, by the aesthetic regulation of their passions. As Frederic Spotts’ fine study Hitler and the Power of Aesthetics reveals, this passionate disquisition permeated public and private life, through the artfully constructed total field of national narratives, myths, symbols and iconographies. And the ritualistic reiteration of national values in Nazi Germany hinged on two things: contempt and memory loss.By April 1945, as Berlin fell, Hitler’s contempt for the German people was at its apogee. Hitler ordered a scorched earth operation: the destruction of everything from factories to farms to food stores. The Russians would get nothing, the German people would perish. Albert Speer refused to implement the plan and remembered that “Until then… Germany and Hitler had been synonymous in my mind. But now I saw two entities opposed… A passionate love of one’s country… a leader who seemed to hate his people” (Sereny 472). But Hitler’s contempt for the German people was betrayed in the blusterous pages of Mein Kampf years earlier: “The receptivity of the great masses is very limited, their intelligence is small, but their power of forgetting is enormous” (165). On the back of this belief, Hitler launched what today would be called a culture war, with its Jewish folk devils, loathsome Marxist intellectuals, incitement of popular passions, invented traditions, historical erasures and constant iteration of values.When Theodor Adorno and Max Horkheimer fled Fascism, landing in the United States, their view of capitalist democracy borrowed from Benjamin and anticipated both Baudrillard and Guy Debord. In their well-know essay on “The Culture Industry”, in Dialectic of Enlightenment, they applied Benjamin’s insight on mass self-expression and the maintenance of property relations and ritual values to American popular culture: “All are free to dance and enjoy themselves”, but the freedom to choose how to do so “proves to be the freedom to choose what is always the same”, manufactured by monopoly capital (161–162). Anticipating Baudrillard, they found a society in which “only the copy appears: in the movie theatre, the photograph; on the radio, the recording” (143). And anticipating Debord’s “perfected denial of man” they found a society where work and leisure were structured by the repetition-compulsion principles of capitalism: where people became consumers who appeared “s statistics on research organization charts” (123). “Culture” came to do people’s thinking for them: “Pleasure always means not to think about anything, to forget suffering even where it is shown” (144).In this mass-mediated environment, a culture of repetitions, simulacra, billboards and flickering screens, Adorno and Horkheimer concluded that language lost its historical anchorages: “Innumerable people use words and expressions which they have either ceased to understand or employ only because they trigger off conditioned reflexes” in precisely the same way that the illusory “free” expression of passions in Germany operated, where words were “debased by the Fascist pseudo-folk community” (166).I know that the turf of the culture wars, the US and Australia, are not Fascist states; and I know that “the first one to mention the Nazis loses the argument”. I know, too, that there are obvious shortcomings in Adorno and Horkheimer’s reactions to popular culture and these have been widely criticised. However, I would suggest that there is a great deal of value still in Frankfurt School analyses of what we might call the “authoritarian popular” which can be applied to the conservative prosecution of populist culture wars today. Think, for example, how the concept of a “pseudo folk community” might well describe the earthy, common-sense public constructed and interpellated by right-wing culture warriors: America’s Joe Six-Pack, John Howard’s battlers or Kevin Rudd’s working families.In fact, Adorno and Horkheimer’s observations on language go to the heart of a contemporary culture war strategy. Words lose their history, becoming ciphers and “triggers” in a politicised lexicon. Later, Roland Barthes would write that this is a form of myth-making: “myth is constituted by the loss of the historical quality of things.” Barthes reasoned further that “Bourgeois ideology continuously transforms the products of history into essential types”, generating a “cultural logic” and an ideological re-ordering of the world (142). Types such as “neo-Marxist”, “postmodernist” and “Burkean conservative”.Surely, Benjamin’s assessment that Fascism gives “the people” the occasion to express itself, but only through “values”, describes the right’s pernicious incitement of the mythic “dispossessed mainstream” to reclaim its voice: to shout down the noisy minorities—the gays, greenies, blacks, feminists, multiculturalists and neo-Marxist postmodernists—who’ve apparently been running the show. Even more telling, Benjamin’s insight that the incitement to self-expression is connected to the maintenance of property relations, to economic power, is crucial to understanding the contemptuous conduct of culture wars.3. Jesus Dunked in Urine from Kansas to CronullaAmerican commentator Thomas Frank bases his study What’s the Matter with Kansas? on this very point. Subtitled How Conservatives Won the Heart of America, Frank’s book is a striking analysis of the indexation of Chicago School free-market reform and the mobilisation of “explosive social issues—summoning public outrage over everything from busing to un-Christian art—which it then marries to pro-business policies”; but it is the “economic achievements” of free-market capitalism, “not the forgettable skirmishes of the never-ending culture wars” that are conservatism’s “greatest monuments.” Nevertheless, the culture wars are necessary as Chicago School economic thinking consigns American communities to the rust belt. The promise of “free-market miracles” fails ordinary Americans, Frank reasons, leaving them in “backlash” mode: angry, bewildered and broke. And in this context, culture wars are a convenient form of anger management: “Because some artist decides to shock the hicks by dunking Jesus in urine, the entire planet must remake itself along the lines preferred” by nationalist, populist moralism and free-market fundamentalism (5).When John Howard received the neo-conservative American Enterprise Institute’s Irving Kristol Award, on 6 March 2008, he gave a speech in Washington titled “Sharing Our Common Values”. The nub of the speech was Howard’s revelation that he understood the index of neo-liberal economics and culture wars precisely as Thomas Frank does. Howard told the AEI audience that under his prime ministership Australia had “pursued reform and further modernisation of our economy” and that this inevitably meant “dislocation for communities”. This “reform-dislocation” package needed the palliative of a culture war, with his government preaching the “consistency and reassurance” of “our nation’s traditional values… pride in her history”; his government “became assertive about the intrinsic worth of our national identity. In the process we ended the seemingly endless seminar about that identity which had been in progress for some years.” Howard’s boast that his government ended the “seminar” on national identity insinuates an important point. “Seminar” is a culture-war cipher for intellection, just as “pride” is code for passion; so Howard’s self-proclaimed achievement, in Terry Eagleton’s terms, was to valorise “the blood and the body” over “theoretical analysis”. This speaks stratospheric contempt: ordinary people have their identity fashioned for them; they need not think about it, only feel it deeply and passionately according to “ritual values”. Undoubtedly this paved the way to Cronulla.The rubric of Howard’s speech—“Sharing Our Common Values”—was both a homage to international neo-conservatism and a reminder that culture wars are a trans-national phenomenon. In his address, Howard said that in all his “years in politics” he had not heard a “more evocative political slogan” than Ronald Reagan’s “Morning in America”—the rhetorical catch-cry for moral re-awakening that launched the culture wars. According to Lawrence Grossberg, America’s culture wars were predicated on the perception that the nation was afflicted by “a crisis of our lack of passion, of not caring enough about the values we hold… a crisis of nihilism which, while not restructuring our ideological beliefs, has undermined our ability to organise effective action on their behalf”; and this “New Right” alarmism “operates in the conjuncture of economics and popular culture” and “a popular struggle by which culture can lead politics” in the passionate pursuit of ritual values (31–2). When popular culture leads politics in this way we are in the zone of the image, myth and Adorno and Horkheimer’s “trigger words” that have lost their history. In this context, McKenzie Wark observes that “radical writers influenced by Marx will see the idea of culture as compensation for a fragmented and alienated life as a con. Guy Debord, perhaps the last of the great revolutionary thinkers of Europe, will call it “the spectacle”’ (20). Adorno and Horkheimer might well have called it “the authoritarian popular”. As Jonathan Charteris-Black’s work capably demonstrates, all politicians have their own idiolect: their personally coded language, preferred narratives and myths; their own vision of who “the people” might or should be that is conjured in their words. But the language of the culture wars is different. It is not a personal idiolect. It is a shared vocabulary, a networked vernacular, a pervasive trans-national aesthetic that pivots on the fact that words like “neo-Marxist”, “postmodern” and “Edmund Burke” have no historical or intellectual context or content: they exist as the ciphers of “values”. And the fact that culture warriors continually mouth them is a supreme act of contempt: it robs the public of its memory. And that’s why, as Lucy and Mickler’s War on Democracy so wittily argues, if there are any postmodernists left they’ll be on the right.Benjamin, Adorno, Horkheimer and, later, Debord and Grossberg understood how the political activation of the popular constitutes a hegemonic project. The result is nothing short of persuading “the people” to collaborate in its own oppression. The activation of the popular is perfectly geared to an age where the main stage of political life is the mainstream media; an age in which, Charteris-Black notes, political classes assume the general antipathy of publics to social change and act on the principle that the most effective political messages are sold to “the people” by an appeal “to familiar experiences”—market populism (10). In her substantial study The Persuaders, Sally Young cites an Australian Labor Party survey, conducted by pollster Rod Cameron in the late 1970s, in which the party’s message machine was finely tuned to this populist position. The survey also dripped with contempt for ordinary people: their “Interest in political philosophy… is very low… They are essentially the products (and supporters) of mass market commercialism”. Young observes that this view of “the people” was the foundation of a new order of political advertising and the conduct of politics on the mass-media stage. Cameron’s profile of “ordinary people” went on to assert that they are fatally attracted to “a moderate leader who is strong… but can understand and represent their value system” (47): a prescription for populist discourse which begs the question of whether the values a politician or party represent via the media are ever really those of “the people”. More likely, people are hegemonised into a value system which they take to be theirs. Writing of the media side of the equation, David Salter raises the point that when media “moguls thunder about ‘the public interest’ what they really mean is ‘what we think the public is interested in”, which is quite another matter… Why this self-serving deception is still so sheepishly accepted by the same public it is so often used to violate remains a mystery” (40).Sally Young’s Persuaders retails a story that she sees as “symbolic” of the new world of mass-mediated political life. The story concerns Mark Latham and his “revolutionary” journeys to regional Australia to meet the people. “When a political leader who holds a public meeting is dubbed a ‘revolutionary’”, Young rightly observes, “something has gone seriously wrong”. She notes how Latham’s “use of old-fashioned ‘meet-and-greet’campaigning methods was seen as a breath of fresh air because it was unlike the type of packaged, stage-managed and media-dependent politics that have become the norm in Australia.” Except that it wasn’t. “A media pack of thirty journalists trailed Latham in a bus”, meaning, that he was not meeting the people at all (6–7). He was traducing the people as participants in a media spectacle, as his “meet and greet” was designed to fill the image-banks of print and electronic media. Even meeting the people becomes a media pseudo-event in which the people impersonate the people for the camera’s benefit; a spectacle as artfully deceitful as Colin Powell’s UN performance on Iraq.If the success of this kind of “self-serving deception” is a mystery to David Salter, it would not be so to the Frankfurt School. For them, an understanding of the processes of mass-mediated politics sits somewhere near the core of their analysis of the culture industries in the “democratic” world. I think the Frankfurt school should be restored to a more important role in the project of cultural studies. Apart from an aversion to jazz and other supposedly “elitist” heresies, thinkers like Adorno, Benjamin, Horkheimer and their progeny Debord have a functional claim to provide the theory for us to expose the machinations of the politics of contempt and its aesthetic ruses.ReferencesAdorno, Theodor and Max Horkheimer. "The Culture Industry: Enlightenment as Mass Deception." Dialectic of Enlightenment. London: Verso, 1979. 120–167.Barthes Roland. “Myth Today.” Mythologies. Trans. Annette Lavers. St Albans: Paladin, 1972. 109–58.Baudrillard, Jean. Simulations. New York: Semiotext(e), 1983.Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. Ed. Hannah Arendt. Trans. Harry Zorn. New York: Schocken Books, 1969. 217–251.Burke, Edmund. Reflections on the Revolution in France. Ed. Conor Cruise O’Brien. Harmondsworth: Penguin, 1969.Charteris-Black, Jonathan. Politicians and Rhetoric: The Persuasive Power of Metaphor. Houndmills: Palgrave Macmillan, 2006.Debord, Guy. The Society of the Spectacle. Trans. Donald Nicholson-Smith. New York: Zone Books, 1994.Eagleton, Terry. The Ideology of the Aesthetic. Oxford: Basil Blackwell, 1990.Frank, Thomas. What’s the Matter with Kansas?: How Conservatives Won the Heart of America. New York: Henry Holt and Company, 2004.Grossberg, Lawrence. “It’s a Sin: Politics, Post-Modernity and the Popular.” It’s a Sin: Essays on Postmodern Politics & Culture. Eds. Tony Fry, Ann Curthoys and Paul Patton. Sydney: Power Publications, 1988. 6–71.Hewett, Jennifer. “The Opportunist.” The Weekend Australian Magazine. 25–26 October 2008. 16–22.Hitler, Adolf. Mein Kampf. Trans. Ralph Manheim. London: Pimlico, 1993.Howard, John. “Sharing Our Common Values.” Washington: Irving Kristol Lecture, American Enterprise Institute. 5 March 2008. ‹http://www.theaustralian.news.com.au/story/0,25197,233328945-5014047,00html›.Lucy, Niall and Steve Mickler. The War on Democracy: Conservative Opinion in the Australian Press. Crawley: University of Western Australia Press, 2006.Pearson, Christopher. “Pray for Sense to Prevail.” The Weekend Australian. 25–26 October 2008. 30.Salter, David. The Media We Deserve: Underachievement in the Fourth Estate. Melbourne: Melbourne UP, 2007. Sereny, Gitta. Albert Speer: His Battle with Truth. London: Picador, 1996.Spotts, Frederic. Hitler and the Power of Aesthetics. London: Pimlico, 2003.Wark, McKenzie. The Virtual Republic: Australia’s Culture Wars of the 1990s. St Leonards: Allen & Unwin, 1997.Young, Sally. The Persuaders: Inside the Hidden Machine of Political Advertising. Melbourne: Pluto Press, 2004.

March 2020 marks the coming of bad news to this country. COVID-19 pandemic began to strike and its domino impacts have affected almost all aspects of life, including academic and scientific writing on journal. In the midst of the spirit of working and researching from home, the International Review of Humanities Studies Journal is back to publish for July 2020 edition. The issues discussed are increasingly diverse, marked by the diverse expertises of the respective authors. Domestic contributions can be seen from the articles of the researchers from Universitas Indonesia, particularly from the Faculty of Humanities and the School of Strategic and Global Studies which are interconnected with the scholars from the Indonesian Police College and Al Azhar University.Since this journal is intended to be available internationally, it is also necessary to pay attention to the contributions of foreign authors. Researchers from the University of Uyo, the University of Ilorin, the University of Benin, the University of Lagos, and Delta State University provide interesting views on the issues of humanities in Nigeria. Five articles from various universities in Nigeria are interconnected with independent researchers from the People's Republic of China, who without links to universities or colleges have sent their own independent research articles.This edition begins with Darmoko's writing that discusses the moral complexities of Javanese in the Asmara Djibrat Ludira novel. Darmoko's research emphasises the spiritual role of knight figures who defended their territory and romance. The second article is from Letmiros who also discusses Java. Letmiros saw a mosque in Jogjakarta, namely the Jogokariyan Mosque, as an agent of change as well as a legend. Letmiros argued that by having activities – whether it is spiritual, economic, cultural, or politics – that are conducted in the mosque, mosque can be ordained as an agent of change and branded as legendary, especially in the city of Jogjakarta.The third article is a research carried out during the COVID-19 pandemic. Fera Belinda saw how a new normality, in a tourist village in the Badung-Bali area, is interconnected with local wisdom and health protocols. Fera Belinda's study shows that health science on pandemic like COVID-19 can be analysed together using the humanities approach. Then in the fourth article, we are invited to take a walk to explore Nigerian drama. Inegbe and Rebecca see that a theatre, titled Cemetary Road, has a significant impact on Nigerian society; to the extent that it can be considered a radical impact. Inegbe and Rebecca's research provides new treasure of knowledge, especially for readers in the regions outside Nigeria.In the fifth article, we are invited to see how online studies, especially the use of video technology, are utilised by teachers. Silalahi and Halimi see how the use of two methods, namely the use of video teaching and the use of textual textbook teaching, are compared between the experimental class and the control class. In conclusion, they find that video-based teaching provides better results in the learning process. The next article, by Soekarba and Rosyidah, invites us to see the contribution of the Hadrami group to a community in the Tegal area, Central Java.The impact of the Hadrami (Al Irsyad) group movement was mostly felt in the social and educational fields in the area.The seventh article invites us to get to know Nigeria. Okpevra's research discusses pre-colonial aspects in the Delta State, Nigeria. This research concludes that intergroup relations in the region are influenced by factors of origin, equality of geographical conditions, and similarity of cultural practices. The eighth article invites us to get acquainted with humanities research that is associated with psychological studies of the police. Mayastinasari and Suseno discussed how strengthening the current role of the police influences the public satisfaction, especially in North Sumatra where this research took place.The ninth article is an issue that has been discussed lately. Nwosu discusses the issue of homosexuality in the Catholic group in Nigeria which is interconnected with its society. Although the discussed issues are quite sensitive, the scientific explanation could vividly answers the questions regarding these issues. Next, the tenth article from Akpan and Edem discusses how a film, in this case Frozen, is examined from the perspective of digital technology and digital costumes which is a new contribution in analysing a child-friendly content. The eleventh article of Ademakinwa and Smith discusses a film adapted from a well-known Nigerian novelist in the United States, Chimamanda Adichie. Ademakinwa and Smith's findings state that collective memory, reconstructed through film, can have a more significant impact than that of novels. It can even create a crisis within society if not properly controlled.The twelfth article from Filia and Nurfitri invites us to explore the expression of confessions of love in Japanese. Data on love expressions from these researchers were collected via video interviews. It is interesting to find that the expression of love turns out to depend on the cultural context associated with togetherness and sustainability. The next article, the thirteenth, is a contribution of an independent Chinese researcher named Zhang Guanan. He analysed Chinese folklore, Pi Ying, with wayang kulit – leather puppet – stories. It is interesting to follow how Guanan managed to find the uniqueness of both in his research.The fourteenth article by Sugiharto and Puspitasari discusses the online stalking activities of urban millennial. It is their second research which found that cyber stalking is a natural thing for millennial generation living in urban areas, including following colleagues, friends, spouses, even ex-spouses and friends who have not been associated for a long time. The fifteenth paper from Guanah Akbanu and Obi discusses the practice of online journalism in Nigeria, using artificial intelligence. The case study they chose was how journalists in Edo, Nigeria, perceived the use of AI in their journalistic methods. It was found that the use of AI turned out to be more positive for journalism in the area.The sixteenth article by Sonya Suganda discusses how a commemorative object, stolperschwelle, is useful as an object for narrative of the death. The object that was initially used to commemorate Nazi victims has developed to be the object to commemorate those who are marginalized, including homosexuals, gypsies, and those who are exiled because of political differences. The next contribution, the seventeenth, comes from Zaqiatul, Al Azhar University who discusses how the functioning of suffixes and verbs is interconnected in the realm of Arabic conjugation. The eighteenth article by Hutapea discusses a quite sensitive issue, namely the conflict between the native people of Jogja and the Papuans living in Jogjakarta. This conflict was examined from the perspective of the police, especially how they controlled it. The nineteenth article from Arif Budiman discusses the strategy used by the French interpreter in the film Marlina Murder in Four Acts. The last article by Basuni discusses the problem of the Arabic-Indonesian translation, in the context of the increasingly contextual scripture.Hopefully, this current edition along with the entire articles can enlighten the readers and contribute significantly to the knowledge of humanities studies.