Bibliografie tematiche / Families – drama

Letteratura scientifica selezionata sul tema "Families – drama"

Autore: Grafiati
Pubblicato: 25 luglio 2024

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Articoli di riviste sul tema "Families – drama"

1

Khan, Rooh Ul Amin, Ahsan Ul Haq e Jamal Ud Din. "Portrayal of Families in Prime Time Urdu Drama". Global Sociological Review V, n. III (30 settembre 2020): 48–57. http://dx.doi.org/10.31703/gsr.2020(v-iii).06.

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The current study was conducted to analyze the portrayal of families in Urdu drama serials right from the start of television drama to 2016. The Urdu drama serial period was divided in to two eras, pre-cable era and cable era. Through the lens of cultivation theory, message system analysis was done of Urdu drama serial for more than five decades. It was hypothesized that pre-cable era will depict more extended families and cable-era depict more nuclear families. The finding of study revealed that our assumption was not supportive and more nuclear families were found in both the eras. Similarly, the other important variable was sibling in pre-cable and cable era. Maximum dramas showed only two to three children in families of both the eras. More diversity of culture was found in terms of family depiction in pre-cable era, and more homogenous and urban elite class was found in cable era.
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Hsu, Wenhua. "Korean Drama Fever—Expanding English Lexicon through Watching English-Subtitled K-Dramas: The Case of Non-Compositional Multiword Expressions". JET (Journal of English Teaching) 9, n. 2 (20 giugno 2023): 269–85. http://dx.doi.org/10.33541/jet.v9i2.4761.

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This research was prompted by the phenomenon of binge-watching Korean television series (K-drama) amongst college students in Taiwan, where English as a foreign language (EFL) is a required course. The researcher-teacher sought to create a pedagogically useful list of the frequent semantically non-compositional multi-word expressions (MWEs) for EFL learners with K-drama fever who often binge-watch K-dramas. A corpus of 25+ million English subtitled words derived from 240 K-dramas across different genres was compiled. Based upon a set of criteria (frequency, range, meaningfulness, well-formedness, non-decomposability and semantic non-compositionality), a total of 326 MWEs of 2 to 6 words were selected. The 326 phrasal expressions are mostly composed of the first 3000 word families. As with other individual word lists, it is hoped that the listing of the non-compositional MWEs may serve as a reference for General English teachers.
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Gursoy, Aysun. "Evaluation of prospective teacher’s attitudes regarding creative drama courses". International Journal of Learning and Teaching 11, n. 4 (31 ottobre 2019): 136–46. http://dx.doi.org/10.18844/ijlt.v11i4.4295.

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The aim of this study is to examine the attitudes of prospective teachers attending the teaching department in universities in North Cyprus according to various variables such as gender, age, department, class, place of residence of families and type of high school they graduated from. For this purpose, Attitude Scale Towards Creative Drama Course was applied to prospective teachers who took creative drama course in Preschool Teaching and Hearing Impaired Education programs of Near East University. Before and after creative drama education and attitude scores of prospective teachers were examined according to independent variables. At the end of the study, it was seen that the prospective teachers' attitude scores towards creative drama differed significantly in favor of women before education but this difference disappeared after education. In addition, it was found that the attitude scores of the prospective teachers did not show a statistically significant difference according to the variables of age, department, class, place of residence of families, type of high school they graduated from. Key Words: Creative drama, prospective teacher, Attitude, age, class
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Santos, Cátia Marlene Silva Monteiro. "Entering School: The Drama of Families with Deaf Children". Procedia - Social and Behavioral Sciences 29 (2011): 322–29. http://dx.doi.org/10.1016/j.sbspro.2011.11.246.

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T., Opoola B., e Taofik Olaide Nasir. "Secondary School Students and their Families’ Attitudes toward Schooling in Nigeria". International Journal of Education and Literacy Studies 8, n. 1 (31 gennaio 2020): 167. http://dx.doi.org/10.7575/aiac.ijels.v.8n.1p.167.

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Using drama as an awareness creation tool, this study examined the influence of gender, age, class, socio-economic status, parent’s level of education and religion on adolescents’ attitude towards schooling. A total of 300 (150 JSS and 150 SS2) students (males=153; females=147) randomly selected from six coeducational secondary schools in Ibadan constituted the sample for the study. The adopted Attitude toward Education Scale by Glassey (1945) and Socio-economic Status Scale by Salami (2015) were used to collect the data. The results indicated that positive significant relationship existed between the adolescents’ attitude towards schooling and gender, age, socioeconomic status, parent’s (father’s) level of education and religion but not with class which is negative. The results indicate the need to include the students’ parental and personal-social factors when counselling students through drama and performances that show students and parents’ negative attitude toward schooling.
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Sugita, I. Wayan. "STRATEGI PEWARISAN SENI PERTUNJUKAN DRAMA GONG KEPADA GENERASI PENERUS". Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra 11, n. 2 (30 settembre 2021): 154. http://dx.doi.org/10.25078/klgw.v11i2.2895.

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<p class="abstrak">This article aims to discuss the inheritance of the performing arts of drama gong to the next generation. As a form of qualitative research, data collection was carried out through analysis of four selected drama gong stories, namely (1) Suluh Ikang Praba; (2) Gesing Reed Beads; (3) Nila Warsiki; and (4) Jayaprana produced in 2019 – 2021. Research data were also collected through observation, document studies, and interviews with several informants who understand the performing arts of gong drama in Bali. Data analysis was carried out qualitatively by applying the theory of semiotics and Bourdeau's social practice. The results of the study indicate that the inheritance of drama gongs is very urgent: (a) to preserve drama gongs; (b) regeneration of young Balinese as supporters of the drama gong; (c) drama gongs are part of Balinese cultural identity, and (d) drama gong as a medium for educating Balinese language and culture. The inheritance of the performing arts of drama gong is carried out through a formal strategy, namely through formal education from kindergarten (PAUD) to college in part by the State Hindu University I Gusti Bagus Sugriwa Denpasar, and an informal strategy, namely the role of families and art-culture studios in socializing, enculturating values. cultural values in the art of performing the drama gong to the younger generation of Bali.</p>
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Reiter, Sherry. "Drama therapy with families, groups and individuals waiting in the wings". Arts in Psychotherapy 18, n. 4 (gennaio 1991): 365–66. http://dx.doi.org/10.1016/0197-4556(91)90079-p.

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Hamdani, Agus. "DRAMA “MALAM JAHANAM” KARYA MOTINGGO BUSYE: SEBUAH TELAAH PSIKOLOGIS". Jurnal Pendidikan Bahasa dan Sastra 16, n. 2 (19 dicembre 2016): 235. http://dx.doi.org/10.17509/bs_jpbsp.v16i2.4485.

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Abstract This article summarizes the results of research that seeks to dismantle the psychological side of the main characters in the drama Hell Night work is Motinggo Busye.Melalui study analysis shows that the main character of this drama named Soleman have a picture of physical and non-physical round. Factors that influence personality Soleman are internal and external factors. Internal factors such as congenital inherited from his father. External factors such as the bitter life experiences Apart from families poor moral, environmental conditions also provide opportunities for Soleman for having an affair with the wife of the lain.Secara indirectly, Soleman personality in the drama that reinforces the opinion of the middle of two opposite schools of psychology (nativism and empiricism), that a person's personality is basically influenced by two factors simultaneously, which is a factor in (hereditary) and external (environmental). Keywords: drama, psychological study, psychology literature.
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Grad én, Lizette. "Dressed in a Present from the Past: The Transfers and Transformations of a Swedish Bridal Crown in the United States". Culture Unbound 2, n. 5 (17 dicembre 2010): 695–717. http://dx.doi.org/10.3384/cu.2000.1525.10238695.

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Ever since the emigration from the Nordic countries the Old world and the New world have maintained an exchange of ideas, customs, and material culture. This cultural heritage consists of more than remnants of the past. Drawing on theories of material culture and performance this article highlights the role of gifts in materializing relationships between individuals, families and organizations in the wake of migration. First, I build on a suggested coinage of the term heritage gifts as a way of materializing relationships. Thereafter, I map out the numerous roles which a Swedish bridal crown play in the United States: as museum object, object of display and loaned to families for wedding ceremonies in America. The transfers and transformations of the bridal crown enhances a drama of a migration heritage. This dynamic drama brings together kin in Sweden and America and maps specific locations into a flexible space via the trajectory of crown-clad female bodies.
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Yan, Yiting. "Analysis of Cultural Differences in Chinese and American Film and Television Contents: Taking "Shameless" and “Little Reunion” as Examples". Highlights in Business, Economics and Management 22 (27 dicembre 2023): 213–19. http://dx.doi.org/10.54097/gz66e748.

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This essay aims to study the cultural differences in the content of the Chinese and American film markets in the last five years. Taking the American drama Shameless and the Chinese TV drama Little Reunion as examples, the essay compares and analyses these two works in terms of their plots, characterization, values, social backgrounds, etc., and explores the differences and reasons for their audience reactions in the Chinese and American film markets. Through intensive comparison and analysis of these two works, it explores their similarities and differences in terms of family themes, cultural elements, and audience response. Using the research methods of case study and data statistics, this study compares the two works in several dimensions. It has been found that Shameless focuses on revealing the sorrows and struggles of underclass families in the United States, and emphasizes individual freedom and rights, while A Little Reunion highlights family harmony and traditional values. In terms of audience response, Shameless is highly praised in the American market but may be controversial in the Chinese market due to cultural differences. This study is important for understanding the cultural differences between the Chinese and American film markets and the audience response to family-themed dramas.
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Più fonti

Tesi sul tema "Families – drama"

1

Teoh, Lay Mui Lucilla. "Happy families : a search for form". Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35908/1/35908_Teoh_1998.pdf.

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Based on Iain Chambers' observations in Migrancy, Culture, Identity (1994, pp. 6-24), the process of migration can be summarized as the relentless transformation of a single entity into multiple spaces and tempos while various histories of language, of politics, of culture and of experiences are distilled. The migrant then has to negotiate the shared occupation of the same new signs with the 'natives' of the new host country. This ongoing process is evident as each new community of migrants arrives in Australia. As each new generation matures, they contribute or distill elements of their home cultures into the fabric of multicultural Australian society. The genesis of Happy Families as a play could be attributed to what Chambers calls the 'relentless transformation' of my migrant family as it attempts to negotiate the spaces in the various communities into which it has been transplanted. This transformation has many facets; some painful, some pleasant, and all inevitable. Hence the play is an attempt to analyze the forces and the circumstances surrounding the transformation such as the issue of assimilation with the attendant loss of cultural roots and the recent unprecedented rise in racial tensions in multicultural societies like Australia.
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Becker, Wallace M. "Enriching families in the parish through the use of musical drama". Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Westkaemper, Lisa. "Tiger; a stage play, and a reflective essay detailing the writing process". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3167/.

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This thesis includes a full length play and a separate section describing the creation of this play. The play depicts family members struggling with the direct and indirect ramifications of alcoholism, depression, and suicide. The play is composed of two acts; act one contains eight scenes, and act two contains six scenes. It is set in the 1950s and 1960s and takes place in various areas of the family home, at a wedding reception, and at a funeral. The essay section includes a description of the process, a record of changes in the play's direction, notations of personal discoveries, and a self evaluation of the strengths and weaknesses of the play.
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Pupa, Buntu. "Facilitating engagement with the challenges facing families in which there may be members with special needs : positing a model for theatrical intervention". Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13165.

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Includes bibliographical references.
The purpose of the study is to investigate the manner in which performance can facilitate communication amongst family members in dealing with the challenges facing families in which there is a member with ‘special needs’. Special needs range from problems of mental or emotional anguish, care, disability or chronic illnesses. My interest in this study is on how these special needs impact on the functioning of the family and family dynamics. Theatrical representation and audience participation is at the heart of exploring the empowering role of applied theatre to engage family members in expressing their difficulties and discussing their issues together.
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Dupuy, Camille. "Généalogie du "family drama" : représentations des familles américaines dans les séries télévisées dramatiques familiales depuis les années 1970". Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30012/document.

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Les familles et les questions de société qui s’y rapportent occupent une place politiquement et symboliquement importante aux Etats-Unis depuis l’installation des colonies anglaises dans le continent Américain au XVIIe siècle. Elles sont omniprésentes dans les fictions télévisées depuis les débuts de la télévision commerciale américaine, à la fin des années 1940. Aujourd’hui, il est difficile de citer une série qui ne parle pas directement ou indirectement de la famille. Pourtant, elles sont peu nombreuses à en faire leur sujet principal. Dans les années 1950 et 1960, les familles sont déjà le sujet de séries télévisées, que ce soit dans des sitcoms, des soap operas ou des westerns. A partir des années 1970, elles commencent à être l’objet principal de séries dramatiques de prime time : des family dramas. La chercheuse Ella Taylor, dans Prime Time Families, définit le family drama comme « une série dont l’action se passe principalement dans la maison » (« a dramatic series set in the home »). L’observation des évolutions du family drama des années 1970 à nos jours vise à comprendre l’évolution des conceptions de la famille dans l’imaginaire collectif de la société américaine. Cette étude chronologique, divisée en trois époques, analysera la généalogie du genre du family drama. La première période commence en 1972, le début de la diffusion de la série The Waltons (CBS, 1972-1981) et se termine en 1983, soit à la fin de la diffusion de Little House on the Prairie (NBC, 1974-1983). La deuxième période commence en 1978, avec le début de la diffusion de Dallas (CBS, 1978-1991) et se termine en 1993, soit à la fin de la diffusion de Knots Landing (CBS, 1979-1993). La troisième période s’est ouverte en 1994, avec le début de la diffusion de Party of Five (Fox, 1994-2000) et se termine en 2015 avec Parenthood (NBC, 2010-2015)
Families have occupied a politically and symbolically important place in the United States since the settlement of the English colonies in the American continent in the seventeenth century. They have been ubiquitous in TV drama since the early days of American commercial television in the late 1940s. Today, it is hard to find a television series that does not speak directly or indirectly about family. Yet, only few make them their main subject. In the 1950s and 1960s, families were already the subject of television programs, whether in sitcoms, soap operas or westerns. From the 1970s, they began to be the main focus of prime-time drama shows: family drama was born. The researcher Ella Taylor, in Prime Time Families, defines the family drama as "a dramatic series set in the home". The observation of evolutions of the family drama from the 1970s to now aims at understanding the evolution of the perceptions of the family in the collective imagination of American society. This chronological study, divided into three eras, analyzes the genealogy of the family drama as a genre. The first period began in 1972, with the beginning of the broadcast of The Waltons (CBS, 1972-1981) and ended in 1983, at the end of the broadcast of Little House on the Prairie (NBC, 1974-1983). The second period begins in 1978, with the start of the Dallas broadcast (CBS, 1978-1991) and ends in 1993, at the end of the broadcast of Knots Landing (CBS, 1979-1993). The third period began in 1994 with the launch of the release of Party of Five (Fox, 1994-2000) and ends in 2015 with Parenthood (NBC, 2010-2015)
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Gerber, Andre Kruger. "Towards the Family's Salvation : examining the displacement of the (F)ather in selected religious family dramas of Ibsen and Strindberg resulting in the creation of a new text". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86340.

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Thesis (MA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: During the nineteenth century, Charles Darwin published The Origin of Species, inciting debate surrounding the validity of the Christian creation narrative. Prior to this, the Adam and Eve creation narrative was the central narrative around which Christian families modelled their own family structures – with the father as the head of the household. In this thesis I discuss the effect that Darwin’s publication had on the restructuring of families in the nineteenth century. I do this through analysis of Henrik Ibsen’s Ghosts and August Strindberg’s Easter, two domestic dramas that chronicle the effect of a society redesigning their religious philosophies owning to the toppling of the patriarchal structures of authority. I argue that Ibsen and Strindberg stand in polar relation to one another in terms of the debate surrounding the religiosity of the family and the position of the (F)ather within this framework (borrowing from Ross Shideler’s term conflating the notion of the divine Father and the earthly father). Relating the debate to the contemporary Afrikaner culture, the research aims to create a family drama (...van ons vaders) that addresses the decline of Afrikaner Calvinistic religious constructs in a similar manner to that of Ibsen and Strindberg, but in through a contemporary aesthetic approach.
AFRIKAANSE OPSOMMING: Gedurende die negentiende eeu is debat ontlok rondom die geldigheid van die Christelike skeppingsverhaal wanweë die publikasie van Charles Darwin se The Origin of Species. Voor dit, is die Adam-en-Eva verhaal die sentrale narratief waarvolgens Christelike families hulself gestruktureer het – met die vader as die hoof van die huishouding. In hierdie tesis bespreek ek die effek wat Darwin se publikasie gehad het op die herstrukturering van families gedurende die negentiende eeu. Ek doen dit aan die hand van Henrik Ibsen se Ghosts en August Strindberg se Easter – twee familiedramas wat sentraal in die debat staan rondom die herontwerp van geloofsfilosifieë en omvorming van patriargale gesagstrukture. Ek argumenteer dat Ibsen en Strindberg in polêre verhouding met mekaar staan in terme van die debat rondom die godsdienstigheid van die familie en die posisie van die (V)ader binne hierdie raamwerk. Hier leen ek Ross Shideler se term wat die idee van die goddelike Vader en die aardse vader saamsmelt. Dit word later in verband gebring met die kontemporêre Afrikaner kultuur om ten einde ‘n nuwe familiedrama (…van ons vaders) te skep, wat fokus op die hedendaagse hervorming van Afrikaner Calvinistiese geloofstrukture, in ‘n wyse soortgelyk aan dié van Ibsen en Strindberg, maar deur om gebruik te maak van ‘n kontemporêre estetiese benadering.
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Machado, Thiago Luiz Berzoini. "Espectros – um drama familiar: narrativa transmídia aplicada às artes cênicas". Universidade Federal de Juiz de Fora, 2012. https://repositorio.ufjf.br/jspui/handle/ufjf/1914.

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Utilizando como matriz midiática “Espectros – Um drama familiar” (Gengangere, 1881) de Henrik Ibsen, esta dissertação analisa a expansão do universo ficcional de uma peça teatral por diversas plataformas de mídia. A montagem da obra foi desenvolvida através da aplicação de estratégias transmídia com base nas explanações de Henry Jenkins e Stephen Dinehart, teóricos dessa nova forma de utilização da narrativa perante a era da “Cultura da Convergência”. O projeto apresentou ao espectador uma obra que possui vários “pontos de entrada” no universo ficcional da trama de Ibsen, acessíveis através de um conteúdo distribuído eletronicamente: vídeos, áudio-teatro, história em quadrinhos, um jornal fictício que contém informações sobre o programa da peça e um dossiê contra um dos personagens centrais da trama. A experiência também foi levada para um ambiente imersivo - o Second Life –, apresentando uma assembleia virtual que reuniu o elenco e o público atingido pela divulgação do evento nas redes sociais e sítio de hospedagem do material produzido. Com a aplicação dessa estratégia, o espectador é motivado a organizar mentalmente os fragmentos narrativos de situações pulverizadas através de canais de distribuições complementares, proporcionando a continuidade de imersão no universo ficcional mesmo após o término da experiência.
Using as a media-matrix “Ghosts – a family drama” (Gengangere, 1881) by Henrik Ibsen, this work analyzes the expansion of the fictional universe of a play by various media platforms. The composition of the play was developed through the application of strategies based on the explanations of Henry Jenkins and Stephen Dinehart, theorists of this new way of using the narrative according with the era of “Convergence Culture”. The project presented a work in which the viewer has multiple “entry points” into the fictional universe of Ibsen’s plot, accessible via electronically distributed content: videos, audio dramas, comic, a fictional newspaper which contains information about the program of the play and a dossier against one of the central characters of the plot. The experience was also taken to an immersive environment – the Second Life – featuring a virtual meeting that gathered the cast and the audience reached by the advertisement of this event through social networking and hosting website with the material produced. With the implementation of this strategy, the viewer is encouraged to mentally organize the narrative fragments of situations sprayed throughout additional distribution channels to provide continuous immersion in the fictional universe even the ends of the experiment.
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Terzakis, Louisa. "Maria Magdalena und der Wandel von Familie und Vaterfigur". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23621.

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Gallo, Ligia Razera. "O desequilíbrio familiar e a identidade americana nas peças de Sam Shepard". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-20082012-123957/.

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Abstract (sommario):
Este estudo analisa três obras dramáticas de Sam Shepard: Curse of the Starving Class, Buried Child e Fool for Love dentro do contexto de sua obsessão compartilhada com o sonho americano sobre uma família harmoniosa mostrando um desvio do sonho o que também é predominante em peças de dramaturgos americanos, como O\'Neill e Miller, que antecedem Sam Shepard. Este estudo também investiga o conceito da identidade americana nas peças. Entre os trabalhos do dramaturgo Sam Shepard encontramos três peças que exploram o que significa ser o membro de uma família do meio oeste americano. Em Curse of the Starving Class, Buried Child, Shepard retrata a dor ecoando dentro do círculo familiar. Assim como os trabalhos iniciais de Shepard, essas peças familiares se revelam com um forte elemento biográfico, nascidas das experiências pessoais e persistentes preocupações do dramaturgo; através das peças, ele examina e reexamina o sistema familiar multigeracional do qual ele é oriundo. Por exemplo, o alcoolismo do pai e a forma como os pais são construídos em suas peças, a partir de uma perspectiva pessoal, são muito mais do que simples características das personagens, são uma condição que afeta a todos os personagens, seu relacionamento interpessoal e seus destinos. Além disso, podemos observar que o sonho americano, e sua relação com essa instabilidade familiar é um dos temas recorrentes nos dramas escritos pelo autor. Outra intenção deste estudo é, num primeiro momento analisar, o sonho americano sob uma perspectiva histórica para definir suas múltiplas facetas desde os tempos coloniais até o século XX, tal como apresentado no drama; em segundo lugar em um nível temático para identificar os vários temas que Sam Shepard usa em suas peças, tais como laços familiares adulterados, alienação, incapacidade de se comunicar, a violência, a relação esposa-amante surreal, e a busca de identidade e assim definir como eles impedem a realização do sonho; em terceiro lugar, as características usadas por Sam Shepard, que servem para apresentar as peças como instâncias do sonho de uma família harmoniosa tornando-se um pesadelo.Na peça Fool for Love analiso também a tirania exercida pela família sobre as vidas das suas crianças crescidas. De 1977 até 1985, Shepard distancia-se da aceitação fatalística e desse modo revela mudanças tanto na perspectiva autoral como no ambiente social. Como ele faz frequentemente em seus trabalhos, Shepard reflete o comportamento de uma época.
This study analyzes three dramatic works of Sam Shepard: Curse of the Starving Class, Buried Child and Fool for Love within the context of their shared obsession with the American dream of a harmonious family showing a deviation of the dream which is also predominant in plays of American playwrights such as O\'Neill and Miller, preceding Sam Shepard. This study also investigates the concept of American identity in the plays. Among the works of playwright Sam Shepard there are three plays that explore what it means to be a member of a family in the U.S. Midwest. In Curse of the Starving Class, Buried Child, Shepard portrays the pain echoing within the family. As the initial work of Shepard, these family plays reveal themselves with a strong biographical element, born of personal experience and persistent concerns of the playwright, through the plays, he examines and reviews the multigenerational family system of which he also derives from. For example, the father\'s alcoholism and how the fathers of his plays are constructed from a personal perspective are much more than simple features of the characters, it is a condition that affects all the characters, their relationships and their interpersonal destinations. In addition, we note that the American dream and its relationship with that family instability is one of the recurring themes in dramas written by the author. Another aim of this study is, at first look at the American dream from a historical perspective to define its many facets from colonial times to the twentieth century, as depicted in the drama, and secondly on a thematic level to identify the various themes Sam Shepard uses in his plays, such as family ties tampered with, alienation, inability to communicate, violence, wife-lover surreal relationship, and the search for identity and to define how they prevent the fulfillment of the \'dream\', and finally, the features used by Sam Shepard, which serve to make the plays as instances of the \'dream\' of a harmonious family becoming a nightmare. In the play Fool for Love we also analyze the tyranny exercised by the family on the lives of their grown children. From 1977 until 1985, Shepard is away from the fatalistic acceptance and thereby reveals changes in both the authorial perspective and the social environment. As he does often in his work, Shepard reflects the behavior of an era.
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Leviski, Charlott Eloize. "O desnudamento dos dramas familiares em Lavoura arcaica e álbum de família". reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24160.

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Resumo: Esta dissertação propõe-se a analisar dentro de uma perspectiva comparada as famílias das obras Lavoura arcaica de Raduan Nassar e Álbum de família de Nelson Rodrigues. O objetivo central é investigar de que maneira os autores dialogam com os conflitos familiares e desse modo apontar como a literatura tem o poder de desvelar os problemas sociais, culturais e religiosos, captando neste o processo a desestruturação da família. É a partir do diálogo entre recursos, temáticas e linguagens que as obras encontram sua expressividade. Dentre eles destacam-se o patriarcalismo, a burguesia, o incesto, a religiosidade, as fotografias, a dança de Ana, o isolamento.
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Libri sul tema "Families – drama"

1

Deuval, Consuelo. La familia P. Luche: Tercera temporada. México: Televisa Home Entertainment, 2013.

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2

Peter, Collier. The Kennedys: An American drama. San Francisco: Encounter Books, 2002.

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3

1856-1924, Archer William, a cura di. Ghosts: A family-drama in three acts. [Sioux Falls, SD]: NuVision Publications, 2008.

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4

Blicq, Ron. Closure: A contemporary drama in two acts. New York: Samuel French, 2009.

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Blicq, Ron. Closure: A contemporary drama in two acts. New York: Samuel French, 2009.

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6

Radunović, Aleksandar. Drame: Porodični ciklus. Podgorica: Fokalizator, 2021.

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Billingsley, ReShonda Tate. Drama queens. New York: Pocket Books, 2010.

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Weber, Carl. Baby momma drama. Waterville, Me: Thorndike Press, 2003.

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Weber, Carl. Baby momma drama. New York: Dafina/Kensington Pub., 2003.

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10

Shields, Carol. Fashion, power, guilt, and the charity of families. Winnipeg: Blizzard Pub., 1995.

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Capitoli di libri sul tema "Families – drama"

1

Kwok-bun, Chan, e Seet Chia Sing. "The Politics of Migrant Family Drama: Mainland Chinese Immigrants in Singapore". In International Handbook of Chinese Families, 37–51. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-0266-4_3.

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Gill, Richard. "Familiar Drama". In Mastering, 73–85. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-20852-0_7.

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Lee, Sung-Ae. "Past in the Present: Film and TV Drama, Korean Families, and the Palimpsestic Neo-Confucian Family Schema". In The Asian Family in Literature and Film, 89–108. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-2500-7_4.

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Greis, Jutta. "Mord und Totschlag, Die Famile Als Scheiternde Empfindsame Gemeinschaft oder: Diskursfälle Von Liebe und Empfindsamkeit". In Drama Liebe, 89–102. Stuttgart: J.B. Metzler, 1991. http://dx.doi.org/10.1007/978-3-476-03357-4_6.

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Oxford, Linda K., e Daniel J. Wiener. "Rescripting family dramas using psychodramatic methods." In Action therapy with families and groups: Using creative arts improvisation in clinical practice., 45–74. Washington: American Psychological Association, 2003. http://dx.doi.org/10.1037/10610-003.

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Prodoehl, Hans Gerd. "Der abstrakte Mensch und die Familie: das Drama der Erosion von Reservaten im 21. Jahrhundert". In Der abstrakte Mensch, 213–36. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-13539-3_18.

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Posti, Piia K. "‘I Get to Exist as a Black Person in the World’: Bridgerton as Speculative Romance and Alternate History on Screen". In History and Speculative Fiction, 123–49. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42235-5_7.

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AbstractIn 2020, a TV drama series adaptation was made of Julia Quinn’s historical romance series Bridgerton (2000–2012). Several choices in the adaptation were inspired by the recent hypothesis that Queen Charlotte was Black, and an unusual number of Black actors were cast in roles that both fictionally and historically have been predominantly reserved for white actors. This article explores the hypothesis’ impact on the adaptation in the intersection of romance, race and history. What notions (historical and contemporary) of romance, race and historical accuracy are challenged and endorsed in contemporary popular media like the Bridgerton series? What are the benefits and setbacks from a decolonial perspective when Black people are cast, and “familiar” history is told, in such “unfamiliar” ways?
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Harries, Rhiannon. "Desperately Funny: Comedy, Performance and the Musical Moment in Toni Erdmann (2016)". In When Music Takes Over in Film, 225–46. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_12.

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AbstractIn a standout scene in Toni Erdmann (Maren Ade, 2016), straight-laced management consultant Ines (Sandra Hüller) is quietly coerced by her father Winfried (Peter Simonischek)—here in character as his eccentric alter ego Toni—into singing to a room full of strangers at a party. Hüller’s rendition of ‘Greatest Love of All’, made famous by Whitney Houston’s 1986 cover, drew spontaneous applause at the film’s Cannes première, and many critics identify it as a ‘feel-good’ moment in the film’s otherwise awkward comedy. This chapter considers the more ambivalent affects of Toni Erdmann’s musical moment as it participates in the complex personal and political dynamics of a film that is less a comedy than a drama about the possibilities and failures of the comic and of performance as responses to fraying familial and social bonds under late capitalism. Drawing on Henri Bergson’s theory of humour, Sianne Ngai’s account of ‘zany’ comedy and Lauren Berlant’s notion of the ‘impasse’, the chapter argues that the film’s deliberate frustration of some of the musical moment’s more utopic functions is key to its affective indexing of the present and the conditions of post-industrial capitalism.
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"From Fission to Fusion: Sam Shepard’s Nuclear Families". In New Essays in American Drama, 143–66. BRILL, 1989. http://dx.doi.org/10.1163/9789004483514_012.

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Takeuchi, Lori M., e Briana Ellerbe. "Daddy Loves Dora and Mama Loves Drama". In Children and Families in the Digital Age, 153–73. Routledge, 2017. http://dx.doi.org/10.4324/9781315297170-9.

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Atti di convegni sul tema "Families – drama"

1

Farrand, Kathleen. "Pre-K Families Learning Together: Examining a Family Drama Event to Extend Dual-Language Learning". In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1568682.

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2

Daraklitsa, Elina. "THE SYMBOLISMS AND DRAMATURGIC NOTIONS IN THE TROJAN WOMEN UNDER JEAN PAUL SARTRE�S POLITICAL AND PHILOSOPHICAL VIEW". In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s03.03.

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The present study examines the contemporary rewriting in the French language of Euripides' play The Trojan Women by Jean Paul Sartre. The French philosopher having the intention once more to deal with humanity�s big problems, he intensifies Euripides� text with elements drawn from modern society and era. The theme dealt with is war and suppression, along with their conviction, a pattern especially popular with the creator since it is the one he deals with in his debut drama Bariona ou le fils de tonnerre (1940). Also, The Trojan Women (1964) linguistic style matches that of Bariona and Nekrassov (1955), since the personalities of the main heroes in all three plays are governed by the same notions: self � denial, rebelliousness and a firm belief in the ideals. The element which distinguishes the abovementioned texts from the rest of the writer�s dramaturgic work is their abstinence from an existential and psychological � analytical spirit. Thus, the existentialist dramaturgist�s familiar speech with which so many scholars have been preoccupied is almost absent from The Trojan Women. The Sartre�s goal is to �shout out loud� Euripides� big truths and in order to achieve it, he instills into his heroes additional characteristics, thus giving them an even more rebellious and aggressive constitution than the already existing one, expressed by a modern glossolalia. In The Trojan Women, the pioneer writer also deals with the impaired place of woman in contemporary society, an idea also existing in current days.
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