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1
Vasić Rakočević, Branislava V. "„LIPTONOV ČAJ“ RADOMIRA KONSTANTINOVIĆA I IZAZOV RADIO-DRAME". Nasledje Kragujevac XIX, n. 52 (2022): 299–309. http://dx.doi.org/10.46793/naskg2252.299vr.
Testo completoAbstract (sommario):
This paper begins with an overview of the history of radio drama as well as its charac- teristics. Radio dramas of Radomir Konstantinović represent a very specific part of his work mostly due to the historical position of this genre. The central part of the paper is the analysis of his radio drama called The Lipton Tea. There are some characteristic poetic elements in it which are connected to his novels. The crucial problems are problems of identity in a modern world and a dream of happiness and friendship. Since his radio dramas are fully published in 2019 for the first time, this paper traces the path for further research in this area.
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Maurice, Lisa. "AMICI ET SODALES: AN EXAMINATION OF A DOUBLE MOTIF IN PLAUTUS". Mnemosyne 56, n. 2 (2003): 164–93. http://dx.doi.org/10.1163/156852503321625132.
Testo completoAbstract (sommario):
AbstractOne of the ways in which Plautus investigates friendship is through his use of the stock characters so central to Roman comedy. Among the twelve stock characters of comedy that Apuleius lists, appears the figure of the sodalis opitulator (the 'helpful mate'), who has not so far drawn much attention. Not only does Plautus use this character frequently, in five of his twenty extant plays he employs not one friend, but two, as a double motif. In these plays, Plautus uses these double stock characters to parody the ideals of friendship which had developed in the literary tradition, and to play with the conventions of drama as part of a metatheatrical approach to comedy. By a doubling of this motif, Plautus highlights friendship, in order to look at other literary or dramatic themes that include the ideal literary friendship, the supremacy of the Plautine slave and drama itself.
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Švábová, Božena. "Tvorivý proces dramatickej hry rozvíjajúci sociabilitu a emocionalitu dieťaťa". Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 22, n. 2 (2023): 120–26. http://dx.doi.org/10.54937/ssf.2023.22.2.120-126.
Testo completoAbstract (sommario):
In the creative process, drama play allows children to become an active subject of the educational process. It is a very lively and flexible process, it teaches children to communicate, express their opinion, argue, get to know themselves and the world around them. In the article, we point out the importance and possibilities of using drama games in the kindergarten environment, which allow children to realize themselves in induced drama situations and role-play. They bring them joy, freshness, friendship, tension, relaxation, the possibility of self-expression in all activities during the day.
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Ivan, Peshkov. "Friendship Test: the “Chineseness” Drama in the Border City Conditions". Journal of Siberian Federal University. Humanities & Social Sciences 11, n. 11 (novembre 2018): 1742–61. http://dx.doi.org/10.17516/1997-1370-0337.
Testo completo
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Kurniawan, Willy Putranto, Vika Andriani e Tasha Rikayama. "Pembuatan Film Pendek Bertemakan Persahabatan “How Bromance Us”". JTIM : Jurnal Teknologi Informasi dan Multimedia 2, n. 2 (21 agosto 2020): 109–15. http://dx.doi.org/10.35746/jtim.v2i2.97.
Testo completoAbstract (sommario):
A good relationship is not always shared by most teenagers especially in socializing, even not just teenagers, the bigger a person, the more difficult it will be for them to have sincere friendships. In the present era there are many bad things that cause a problem and also have a negative impact that starts from a friendship that is not good. According to an extreme statement by British anthropologist Robin Dunbar, we could have hundreds of friends, but no more than 5 could understand us. This statement and phenomenon is the inspiration for this short film work entitled "How Bromance Us". How Bromance Us is a short film with a fictional drama genre, this friendship has been going on for more than nine years, started from the thought of Edgar who strongly does not believe that there are friends in this world who are truly sincere in undergoing friendship. In one situation Edgar realized that what he always believed was the wrong thing because he realized that his little relative Ryan was a true friend because he had gone through good and bad things together and gave each other support to each other. This work uses steps for developing ideas, writing scripts, determining players, selecting sets and properties, reading, shooting and, and editing. The results of this work last 20 minutes accompanied by a moral message that being yourself is very important, but do not forget to keep the feelings of others, especially true friends. It is hoped that this non-thesis work can change the way the viewer views his friendship relationship and can inspire other filmmakers to continue producing works that have a strong moral message.
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Hamzah, Yuyun, Pahrul Idham Kaliky e Antasari Bandjar. "Media Persona and Parasocial Relations of K-Drama Viewers on Instagram". International Journal of Science and Society 3, n. 3 (10 novembre 2021): 417–26. http://dx.doi.org/10.54783/ijsoc.v3i3.387.
Testo completoAbstract (sommario):
This research is a qualitative descriptive study that aims to provide an overview of the interactions and parasocial relationships of k-drama audiences with the characters in The World of The Married drama as the impact of mass communication. And to find out the characteristics, factors that influence parasocial relationships and at what level these parasocial relationships are intertwined with the S.O.R (Stimulus, Organism, Response) theory as a framework of thought. Primary data collection was carried out through online interviews with a number of informants from the k-drama audience of The World of The Married who were taken randomly from Instagram accounts. The results of this study indicate that the interaction between the audience and k-drama. The World of The Married gives rise to parasocial relationships with the following three characteristics, empathy toward the performer, seeking companionship, and imagined friendship. Parasocial relationships that exist are influenced by factors of motivation, identification and similarity. Thus, in the concept of interaction and parasocial relationships, Korean drama audiences can be grouped at the level of entertainment social-value and intense-personal feeling.
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Besio, Kimberly. "A Friendship of Metal and Stone: Representations of Fan Juqing and Zhang Yuanbo in the Ming Dynasty". NAN NÜ 9, n. 1 (2007): 111–45. http://dx.doi.org/10.1163/138768007x171731.
Testo completoAbstract (sommario):
AbstractThis essay examines representation of male friendship in Ming vernacular literature through an analysis of works that retell the story of two late Han friends, Fan Juqing and Zhang Yuanbo. Throughout the Ming, versions of the tale were produced in a variety of literary genres including a zaju play and a vernacular short story. Both the drama and the short story are extant in multiple editions, providing us insights into how they were interpreted by various literati editors. The durability of the friendship between Fan and Zhang—an essential aspect in all depictions of their story—is vividly evoked by the phrase that characterizes their relationship in dramatic literature: "a friendship of metal and stone." The late Ming editions of the play and the short story underline the two friends' unbending commitment to their friendship through a variety of textual and paratextual additions and emendations. In the hands of these late Ming literati editors the two friends Fan and Zhang thus become heroic figures worthy of eternal respect.
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Lanphier, Elizabeth. "Friends and Citizens in Plato’s Crito". Philosophy in the Contemporary World 27, n. 1 (2021): 44–67. http://dx.doi.org/10.5840/pcw20212713.
Testo completoAbstract (sommario):
I propose a revisionary reading of Plato’s Crito focusing on the dramatic rendering of the friendship between Crito and Socrates, which I argue affords a model for political participation in a social contract. Their friendship models how citizens can come to be conventionally related to one another, and how they should treat one another internal to that relationship. This approach is apt for contemporary democratic theory, perhaps more so than standard interpretations of the political theory traditionally mined from the text, rather than drama, of the Crito. My account moves beyond questions of civility in deliberative democratic politics and deepens an account of how and why we ought to regard those with whom we disagree, but to whom we have nonetheless quasi-voluntarily bound ourselves within the same project of democracy. Friendship also addresses regard for those who have not previously received equal consideration within a putatively democratic social contract.
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Sherman, Jason, Michel Marc Bouchard, Linda Gaboriau, John Palmer e Reid Gilbert. "Canadian Brash: New Voices in Fiction, Drama, Poetry, Lilies, or The Revival of a Romantic Drama, The End / A Day At The Beach". Canadian Theatre Review 72 (settembre 1992): 79–81. http://dx.doi.org/10.3138/ctr.72.016.
Testo completoAbstract (sommario):
Canadian Brash presents an exciting – sometimes challenging – sampling of contemporary writing in all genres. Although the work is often postmodern in approach, it generally fits within traditional genre definitions and, with some exceptions, moves within narrative structures to closure: this is not writing as avant-garde as can be found in the little mags, nor is it writing which avoids the narratological or standard grammars of usage. It does, however, extend the cultural and political grammars of Canadian society to redefine gender roles, friendship, family love, sexual love, and responsibility, often in themes or subtexts which concern homosexual issues.
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Asiska, Milasari, e Misnah Mannahali. "Perwatakan dan Nilai Moral Tokoh Utama dalam Kumpulan Dongeng Ludwig Bechstein". Phonologie : Journal of Language and Literature 3, n. 1 (13 febbraio 2023): 29. http://dx.doi.org/10.26858/phonologie.v3i1.36283.
Testo completoAbstract (sommario):
Abstract. This research purpose the value of character building in the drama Nathan der Weise, and its relevance to German lessons at SMA. The data analysus technique used is content analysis. This analysis technique consists of there stages. They are data reduction, data display and conclusion. Based on the result obtained from the Fed analysis that there are six values in the Drama Nathan der Weise that are relevant to the value of character building snd the German lesson Kurikulum 2013 at SMA. The six values are wisdom, tolerance, self-confidance, humalitiy, mutual help, and friendship. The relevance of these six values to German lessons using the role-playing method.Keywords: Nathan der Weise, Character buiding, Kurikulum 2013, Role-playing, Conten-Analysis.
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Medina, Carmen L. "Drama Wor(l)ds: Explorations of Latina/o Realistic Fiction". Language Arts 81, n. 4 (1 marzo 2004): 272–82. http://dx.doi.org/10.58680/la20042905.
Testo completoAbstract (sommario):
This article looks at fifth graders’ interpretations of Friends from the other side/Amigos del tro lado by Chicana/Mexican American feminist writer Gloria Anzaldúa (1993). Drama-in-Education strategies were the pedagogical tools used to facilitate the students’ engagement in dialogues that moved them from understanding aspects of the life and social reality of Mexican undocumented immigrants on the US/Mexico border to questioning issues of citizenship and justice. Three (3) overarching themes were identified that extended through the dialogues and the drama: First, Making sense of the issues, where the students began to talk and make sense of social issues presented in the text such as citizenship, representation and language. Second, Friendship and compassion. Finally, Becoming critical: Understanding the multiple perspectives involved.
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Zhou, Tian. "Drama Education Differences Between China and Western Countries". Asian Education Studies 4, n. 2 (6 settembre 2019): 31. http://dx.doi.org/10.20849/aes.v4i2.657.
Testo completoAbstract (sommario):
There are overall differences between the education policies and system between the Chinese and western education systems. These differences are brought up by the differences in government policies, the existing student's and orientation system, the country's population and school size, and community attitudes towards the country’s education system. By contrast, the education policies in western cultures are designed to prepare students to be more successful people in society by gaining enough educational skills and developing a strong friendship. There are several ways in which the Chinese education system completely varies with the western education system. Western countries focus on adopting varieties of learning methods in achieving a democratic government. For the Chinese, there is the management of the massive population, which is managed by a different mode of government. This paper tries to explain the differences between drama education in China and the Western cultures.
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Li, Anqi, Yu Xie e Xiaoyun Zhang. "The Female Tragedy in the TV Version "Empresses in the Palace"". Communications in Humanities Research 6, n. 1 (14 settembre 2023): 95–102. http://dx.doi.org/10.54254/2753-7064/6/20230123.
Testo completoAbstract (sommario):
The television drama 'Empresses in the Palace', which is adapted from the novel of the same name, has been popular since it was broadcast in 2012 and is the peak of the television drama about the struggle in ancient China's harem. Therefore, this essay makes a deep study of the tragedy embodied in this TV drama based on the text analysis. Starting with the main character Zhen Huan, this essay analyzes the story of the process that Zhen Huan gradually loses her friendship, love and kinship, and the tragedy caused by the failure of the struggle from a female perspective, after that, analyzing the imbalanced value caused by the differences in political and emotional power between 'Zhen Huan' and the Emperor and the feudal ideology led to a tragic impact on women from a social perspective. As a result, through research and analysis, this essay has a deeper understanding of the tragic literature characteristics that the tragedy in this TV drama mainly comes from the character defects, the differences in power and status, and the oppression of feudal ideology. Feeling the reasons for the hatred and things women need or lose is helpful to avoid being assimilated by the distorted values of struggle.
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Yakubov, Sodirjon Bakievich. "THE INFLUENCE OF SCHILLER'S POEMS ON THE DEVELOPMENT OF GERMAN THEATER IN THE XVIII CENTURY". CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, n. 12 (1 dicembre 2021): 201–5. http://dx.doi.org/10.37547/philological-crjps-02-12-38.
Testo completoAbstract (sommario):
The great German poet and playwright Friedrich Schiller was deeply involved in justice, medicine, aesthetics, history, logic, metaphysics, history of philosophy, and psychology, in addition to drama, because of his deep knowledge of Latin and Greek. With this research, Schiller tries to know human life on a materialistic basis. While Schiller studied dramaturgy from Shakespeare’s work, the works of Voltaire, Diderot, Russo, Lessing, Goethe served to shape his worldview. His friendship with Goethe in particular had a profound effect on his creative potential.
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Liebersohn, Yosef Z. "Socrates, wake up! An analysis and exegesis of the “preface” in Plato’s Crito (43a1-b9)". PLATO JOURNAL 15 (30 dicembre 2015): 29–40. http://dx.doi.org/10.14195/2183-4105_15_2.
Testo completoAbstract (sommario):
In this paper I offer a close analysis of the first scene in Plato’s Crito (43a1-b9). Understanding a Platonic dialogue as a philosophical drama turns apparent scene-setting into an integral and essential part of the philosophical discussion. The two apparently innocent questions Socrates asks at the beginning of the Crito anticipate Crito’s two problems, namely how he regards his friendship with Socrates as opposed to his complicated relations with the polis and its sovereignty. These two questions are an integral part of the philosophical discussion presented throughout the dialogue.
http://dx.doi.org/10.14195/2183-4105_15_2
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Charkiolakis, Alexandros. "Heroism, Resistance, and Sentiment: Two Events Full of Beethovenian Drama". Studia Musicologica 61, n. 1-2 (13 aprile 2021): 73–80. http://dx.doi.org/10.1556/6.2020.00006.
Testo completoAbstract (sommario):
Beethoven’s music has set the tone during different and diverse events in human history. It has been used in order to pinpoint major historical events, but it has been also used in order to represent ideas such as friendship of nations, freedom, and many others. There are two events though when the music of Beet ho ven has meant more than a fine and glorious tune for the Athenian public. These two events occurred under totally different circumstances, with the first being an incident involving a Fidelio performance during World War II in occupied Athens, and the second having to do with the death of the legendary conductor Dimitri Mitropoulos and his urn containing his ashes arriving in Athens. Although the two incidents are historically unconnected, they are very much underlined by the Beethovenian values rep resented within the actual score. In this study, I will present the historical framework of both events but also taking a step further will dare to connect these with values that have been attributed to Beethoven’s music in terms of fundamental representation.
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Hwang, Jiyoung. "A study of “youth meritocracy” in fantasy school drama - Focusing on Korean OTT Original Dramas in the 2020s -". Education Research Institute, Chungbuk National University 45, n. 1 (30 aprile 2024): 1–30. http://dx.doi.org/10.55152/kerj.45.1.1.
Testo completoAbstract (sommario):
This paper analyzes fantasy school dramas among the original Korean OTT dramas in the 2020s that deal with adolescents' entrance exams, competition, survival, and struggles. Exploring the “youth meritocracy” in these dramas. Originally, the meritocracy was considered the opposite of aristocracy, affirming that intelligence and hard work are the forces that create class mobility. However, over time, it has transformed into a meritocracy based on education and exams. Especially in Korea, it reinforces the obsession with prestigious universities and eventually becomes a way to justify endless competition and winner-takes-all thinking. However, in fantasy school dramas, young people don't just accept the distorted meritocracy as it is; they shape their own lives by exhibiting a variety of attitudes toward the meritocracy in schools which have become battlegrounds for life and death. Chapter 2 examines "High Cookie" a film about high school seniors at a prestigious school who are willing to use drugs to get to the top of the class, while Chapter 3 analyzes "After-School War Activities" a film about high school students who join the military as student soldiers to earn extra credit for the SAT and their unstable inner lives. Chapter 4 examines "All of Are Dead" explores the implications of teenagers choosing cooperation and solidarity over competition, albeit temporarily, in a zombie apocalypse. Chapter 5 focuses on the drama "Superior Shaman Gadusim" to examine the self-affirmation of adolescents who voluntarily sacrifice themselves to save their friends. In doing so, I argue that these dramas expose the absurdity of Korean society and youth meritocracy, but also reveal that they talk about the values that we need to recover beyond meritocracy, such as self-affirmation, friendship and love, cooperation and solidarity.
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Higonnet, Patrice. "Europe, An Open Drama and a Space for Friendship by Victor Pérez-Diaz". Journal of Interdisciplinary History 53, n. 1 (2022): 156–58. http://dx.doi.org/10.1162/jinh_r_01809.
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Sun, Qi. "An Interpretation of Multiple Values in Shakespeare's The Merchant of Venice". Journal of Higher Education Research 3, n. 1 (17 febbraio 2022): 76. http://dx.doi.org/10.32629/jher.v3i1.643.
Testo completoAbstract (sommario):
The Merchant of Venice is a satirical play by William Shakespeare, written during the Renaissance. The rise of humanism in this period gave rise to equality, freedom, tolerance and self-worth. However, the traditional thinking in the Medieval Ages and the reality of social development had fettered humanism and made the social values full of contradictions and conflicts. The Merchant of Venice is a true reflection of the society at that time under such historical background. The story involves rich and diversified social values. This paper tries to interpret the diversified values in The Merchant of Venice drama from several aspects such as love, friendship, money, gender and religion
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Pereiro, James. "S. F. Wood and an Early Theory of Development in the Oxford Movement". Recusant History 20, n. 4 (ottobre 1991): 524–53. http://dx.doi.org/10.1017/s0034193200005604.
Testo completoAbstract (sommario):
Around the main actors in the drama of the Oxford Movement there was a supporting cast of secondary figures which have remained in relative darkness; the increasing glow of attention focused on the central characters, Newman in particular, appears to have relegated them even further into obscurity. Samuel Francis Wood belonged to this group of people, and he is perhaps the most attractive of the personalities among them: loyal, generous, warm, affectionate towards his friends and passionate in the promotion of the causes he espoused. He was destined to be on most intimate terms of friendship with both Newman and Manning, acting as a bridge—together with the Wilberforces—between these two extraordinary personalities.
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Stretter, Robert. "Cicero on Stage: Damon and Pythias and the Fate of Classical Friendship in English Renaissance Drama". Texas Studies in Literature and Language 47, n. 4 (2005): 345–65. http://dx.doi.org/10.1353/tsl.2005.0022.
Testo completo
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Žbontar, Zora. "Foreign Guests in Ancient Greece". Ars & Humanitas 7, n. 2 (31 dicembre 2013): 19–32. http://dx.doi.org/10.4312/ars.7.2.19-32.
Testo completoAbstract (sommario):
Xenía was a special relationship between a foreign guest and his host in Ancient Greece. The ritual of hosting a foreigner included an exchange of objects, feasting, and the establishment of friendship between people from different social backgrounds. This relationship implied trust, loyalty, friendship, and mutual aid between the people involved. Goods and services were also exchanged without any form of payment. There were no formal laws governing xenía – it was based entirely on a moral appeal. Mutual appreciation between the host and the guest was established during the ritual, but the host did retain a certain level of superiority over the guest. Xenía was one of the most important institutions in Ancient Greece. It had a lot of features and obligations similar to kinship and marriage. In literary sources the word xénos varies in meaning from “enemy stranger”, “friendly stranger”, “foreigner”, “guest”, “host” to “ritual friend”, and it is often hard to tell which usage is appropriate in a given passage. The paper describes the emphasis on hospitality towards foreigners. It presents an example of a depiction indicating xenía is presented, as well as several objects which were traded during the ritual. The paper also addresses the importance of hospitality in Greek drama in general, especially with examples of violations of the hospitality code.
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Žbontar, Zora. "Foreign Guests in Ancient Greece". Ars & Humanitas 7, n. 2 (31 dicembre 2013): 19–32. http://dx.doi.org/10.4312/ah.7.2.19-32.
Testo completoAbstract (sommario):
Xenía was a special relationship between a foreign guest and his host in Ancient Greece. The ritual of hosting a foreigner included an exchange of objects, feasting, and the establishment of friendship between people from different social backgrounds. This relationship implied trust, loyalty, friendship, and mutual aid between the people involved. Goods and services were also exchanged without any form of payment. There were no formal laws governing xenía – it was based entirely on a moral appeal. Mutual appreciation between the host and the guest was established during the ritual, but the host did retain a certain level of superiority over the guest. Xenía was one of the most important institutions in Ancient Greece. It had a lot of features and obligations similar to kinship and marriage. In literary sources the word xénos varies in meaning from “enemy stranger”, “friendly stranger”, “foreigner”, “guest”, “host” to “ritual friend”, and it is often hard to tell which usage is appropriate in a given passage. The paper describes the emphasis on hospitality towards foreigners. It presents an example of a depiction indicating xenía is presented, as well as several objects which were traded during the ritual. The paper also addresses the importance of hospitality in Greek drama in general, especially with examples of violations of the hospitality code.
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Mandala, Susan. "Solidarity and the Scoobies: an analysis of the -y suffix in the television series Buffy the Vampire Slayer". Language and Literature: International Journal of Stylistics 16, n. 1 (febbraio 2007): 53–73. http://dx.doi.org/10.1177/0963947007072845.
Testo completoAbstract (sommario):
This article offers a sociolinguistic analysis of selected dialogue from 66 episodes of the television series Buffy the Vampire Slayer ( BTVS). While the research record reveals an interest in the use of language on the show, it is argued here that the issue of language in relation to friendship bonds has thus far received insufficient treatment. In response, this study asks if Buffy and her friends (the Scoobies, as they call themselves after the ghost-busting teens in the cartoon Scooby-Doo) are represented as using vernacular variants to demonstrate in-group identity. Marked - y suffix adjectives (e.g. Heart-of-Darkness-y) are adopted as the linguistic variable, and the data are interpreted with reference to Lesley Milroy’s social network theory and Mick Short’s concept of embedded levels of discourse in drama dialogue. The findings demonstrate that marked -y reveals shifting alliances within the Scooby gang, as it characterizes not the gang as a whole, but only certain members. The findings also suggest that knowledge of how language is used in the formation of friendship groups may be part of sociolinguistic competence (as theorized by Michael Canale and Merrill Swain). Further investigation into whether this is accomplished above or below the writer’s level of conscious awareness is offered as a suggestion for future research.
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Breon, Robin. "Remembering Herbert (c. 2006)". Canadian Theatre Review 128 (settembre 2006): 3. http://dx.doi.org/10.3138/ctr.128.fm.
Testo completoAbstract (sommario):
These eloquent words begin Herbert Whittaker’s account of Montreal theatre from 1920 through 1949, as detailed in his book, Setting the Stage. This text, along with two earlier books, Whittaker’s Theatre 1944—1975 and Whittaker’s Theatricals should be required reading for every drama student in the country. I firs t met Herbert - (I won’t use the diminutive “Herbie” here although it was almost universally applied by most of his friends. Whenever I would receive a message on my voice mail from him it was always: “This is Herbert give me a call when you get a chance .“And I think , if the truth were known, he preferred it ) - in the early 1970s when we formed an organization of theatre critics and writers called the Toronto Drama Bench. The arts patron, Floyd Chalmers, had given a sum of money for an endowment to encourage excellence in dramatic writing, and there needed to be some body to adjudicate the award. Herbert was then the drama critic for the Globe and Mail and I was writing for a small, left-Wing “underground” newspaper of the period called Guerilla. In chatting after the meeting, Herbert noted that he was the senior (meaning oldest) member of the organization and that I was the youngest and that therefore we should try to get along. We did that in a friendship that lasted over thirty years. During that time, (lost my status as youngest member of the organization, but some how he remained our elderst atesman.
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Mendes, Pedro Cabral, Cristina Leandro, Francisco Campos, Lisete Mónico, Pedro Parreira e Ricardo Gomes. "Interdisciplinary and Intergenerational Project, Ulisses’ Pirate:". Journal of Interdisciplinary Studies in Education 8, n. 1 (30 giugno 2019): 63–75. http://dx.doi.org/10.32674/jise.v8i1.853.
Testo completoAbstract (sommario):
The aim of this study was to analyse the impact of an interdisciplinary and intergenerational educational experience in the elderly, in teachers, students and their parents or guardians. Creative Dance and Drama Workshops were articulated with Portuguese, PE, Arts and IT subjects. A total of 20 6th graders, their parents or guardians, five teachers and 15 elders participated in the study. An analysis of 194 free evocations based in the free word association technique was performed, along with 17 semi-structured interviews. From the literary texts “Os Piratas” and “Ulisses”, an expressions-based work was proposed, where drama and movement games were explored. Evocations of the central core were of Friendship, Learning, Affection, Solidarity and Interaction. Of the 264 text units analysed, interaction with the elders was highlighted. In the teachers’ perception about the subjects and workshops involved in the project, a valorisation of IT and of Portuguese was registered. It is also relevant the amount of references to values and to the Interaction with the elders. This interdisciplinary and intergenerational project has revealed itself valuable for the integral and humanistic training of the students, having also given rise to corporeal artistic and emotional experiences relevant to their well-being.
Keywords: Interdisciplinarity; Intergenerationality; Basic Education.
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Lee, Seung Hee. "Popularization Strategy and Acceptance Characteristics of OTT BL (Boys’ Love) Content: Focus on WATCHA Original’s “Semantic Error”". Liberal Arts Innovation Center 12 (31 luglio 2023): 43–75. http://dx.doi.org/10.54698/kl.2023.12.43.
Testo completoAbstract (sommario):
Focusing on the recent trend of producing and distributing a large number of BL (Boys' Love) contents on OTT(over-the-top) platforms, this study examined the background and popularization success strategy through a text and acceptance characteristics analysis of WATCHA Original’s series “Semantic Error”. “Semantic Error” is evaluated as a work that has been a catalyst for bringing BL to the public level, which was previously enjoyed by a small number of female fans with male homosexual tastes on specific platforms. A meticulous popularization strategy was hidden behind the spectacular report cards, including securing the long-term No. 1 viewer ranking creating topics of conversation, and achieving the commercial success of related IPs. As a result, “Semantic Error” spread to more audiences, leading to increased interest among IPs such as novels, webtoons, and dramas, as well as strategic level control aimed at expanding BL audiences and enjoying variations based on Super IP. “Semantic Error” is also meaningful in that it presented an evolved BL type by breaking away from the cliché of stereotypical BL such as 'seme' and 'uke'. The story development, which focuses on love, friendship, and growth, was recognized by viewers as an ordinary drama, not BL, and served as a pointt of attraction and competitiveness as a “content” which was confirmed through text and audience response analysis.
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Gusti Ayu Made Rai Suarniti. "Values of Life in The Wild Duck by Hendrik Ibsen". RETORIKA: Jurnal Ilmu Bahasa 6, n. 2 (29 ottobre 2020): 139–47. http://dx.doi.org/10.22225/jr.6.2.1972.139-147.
Testo completoAbstract (sommario):
This study aims to analyze and discuss the values in Hendrik Ibsen’s The Wild Duck. The method used in this study is descriptive. The data are a drama entitled The Wild Duck (1959). A library research method is applied in collecting the data. Furthermore, the data is analyzed qualitatively. Based on the result of the analysis, it was revealed that there are five kinds of Values found in The Wild Duck which are Moral Value, Social Value, Personal Value, Spiritual Value and Family Value. The most presented type is a moral value, it is about honesty. Social value is about interaction with around, friendship, respect to each other, justice. A personal value is a personality. Spiritual is non-material, it means the values of truth, inner peace, righteousness, and non-violence and the last is family values are beliefs, function as a family, ideals.
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Sansonetti, Annie. "Girl Talk and Hold Music". TSQ 10, n. 3-4 (1 novembre 2023): 527–43. http://dx.doi.org/10.1215/23289252-10900998.
Testo completoAbstract (sommario):
Abstract In this article, the author visits filmmaker Wu Tsang's 2015 short film Girl Talk at the New Museum in New York. The film's documentation of a dance, the author's fieldwork in the museum, and Tsang's cinematography evidence how feminine boyhood and trans girlhood are better supported in the music, conversation, and dance of what the author calls “girlfriend performance.” Against the violence of adult-authored accounts of trans feminine childhood, this article argues that children's friends should tell the story of trans feminine childhood instead. The author examines Tsang's film for its depiction of friendship in queer and trans feminine childhood and develops a transfeminist educational theatre exercise inspired by its repertoire of conviviality—of “girl talk and hold music”—for applied theatre artists, drama educators, and art therapists working with queer and trans youth, specifically feminine boys and transgender girls, and their friends.
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Rabinovich, Irina. "Hawthorne’s True Artist in The Marble Faun: The Jewish Miriam?" ATHENS JOURNAL OF PHILOLOGY 8, n. 4 (9 settembre 2021): 283–96. http://dx.doi.org/10.30958/ajp.8-4-3.
Testo completoAbstract (sommario):
The Marble Faun (MF), besides being a travelogue account of Rome, is a story about sin, guilt, suffering and abuse; it is also a tale about love and friendship. It is a story about the relationships between four different individuals united by their mutual love of art. The more interesting and convincing woman of the two female characters in the novel is unquestionably Miriam. Miriam is a rebel, an artist, and a compassionate and redemptive figure. Nevertheless, her art has been almost totally neglected, probably because most critics maintained that Miriam is an allegorical character lacking moral development or growth, whose function in the romance is limited to bringing about the Model’s murder and enacting the romance’s moral drama. The aim of this paper is to rectify a long and undeserved history of neglect and award Miriam her due status of Hawthorne's sole genuine artist. Keywords: art, Hawthorne’s female artists, The Marble Faun
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Gadamska-Serafin, Renata. "Norwid and Edmund Chojecki – the Traveller". Studia Norwidiana 38, English Version (2020): 177–216. http://dx.doi.org/10.18290/sn.2020.38-13en.
Testo completoAbstract (sommario):
The writer Edmund Chojecki (Charles Edmond) was one of Norwid’s most significant acquaintances, already in the Warsaw period, and later in Paris. Their friendship started in Warsaw in the 1840s and lasted a lifetime (or at least until the 1870s), although its preserved epistolary traces are scarce. This article focuses on Chojecki’s reports from his travels and their inspiring influence on Norwid: Edmund’s trip with Count Branicki to the Crimea (Wspomnienia z podróży po Krymie, Warszawa 1845), journey to the North Seas with Prince Napoleon (Voyage dans les mers du Nord, Paris 1857), Chojecki’s sojourn in Egypt at the turn of 1851, and finally his involvement in preparing the Egyptian exhibition (as the commissioner general) at the 1867 World Exhibition in Paris (L’Égypte à l’Exposition universelle de 1867, Paris 1867). The most important outcome of this is Norwid’s drama Kleopatra i Cezar and his collection of Egyptian drawings in the album Orbis (I).
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Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)". Arts education and science 1, n. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.
Testo completoAbstract (sommario):
The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.
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Pajala, Mari. "‘Long live the friendship between the Soviet Union and Finland!’ Irony, nostalgia, and melodrama in Finnish historical television drama and documentary series". European Journal of Cultural Studies 20, n. 3 (16 gennaio 2017): 271–84. http://dx.doi.org/10.1177/1367549416682244.
Testo completoAbstract (sommario):
In critical studies on historical television programmes, the affective qualities of televisual memory have been discussed mainly in terms of nostalgia. This article argues that conceptualizing the affective modes of relating to the past in more varied ways can help us to better understand the politics of memory on television. As a case study, the article analyses Finnish Broadcasting Company Yleisradio’s historical drama and documentary series that deal with the relationship between Finland and the Soviet Union. The article identifies three affective modes in the programmes: irony, nostalgia and melodrama. Each of these modes offers different possibilities for critiquing, understanding and justifying the past. By studying televisual memories of the Soviet Union in a non-socialist country with important political, economic and cultural ties with the socialist bloc, the article moreover questions a clear East–West binary in studies on post-socialist memory.
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Garnika, Dikdik. "Relationship Between Peer Attachment with Korean Wave Cultural Conformity in Early Youth". JOMSIGN: Journal of Multicultural Studies in Guidance and Counseling 3, n. 2 (1 ottobre 2019): 151–64. http://dx.doi.org/10.17509/jomsign.v3i2.20964.
Testo completoAbstract (sommario):
The Korean wave cultural conformity that occurred in early adolescents was triggered because of a close relationship in friendship which made him adjust his behaviour with his peer group. This study aims to describe empirically the relationship of peer attachment with Korean wave culture conformity of students. The research uses a quantitative approach with correlational methods. The samples used were saturation samples, namely all students of class 7th grade SMP Negeri 44 Bandung Academic Year 2018/2019 who enjoyed Korean wave culture in the form of Korean pop and Korean drama totalling 88 people. Data collection techniques using peer attachment instruments adapted from the inventory of parents and peer attachment-revised and the Korean wave cultural conformity instruments developed by researchers. The results showed that in general, the peer attachment of students was in the category of secure attachment and Korean wave cultural conformity of students was in the category of obedience. This study recommends basic group guidance services that can improve the achievement of peer attachments and can reduce the Korean wave cultural conformity of students.
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Dubost, Thierry. "A Fallen-Soufflé Crisis in Dinner with Friends". Journal of Contemporary Drama in English 8, n. 2 (3 novembre 2020): 270–81. http://dx.doi.org/10.1515/jcde-2020-0022.
Testo completoAbstract (sommario):
AbstractIn Dinner with Friends (1999), which received the Pulitzer Prize for drama in 2000, Donald Margulies stages two couples – one of them impacted by the other’s divorce – and he uses food to evaluate the characters’ response to a marital breakup. Sociologically, food and eating rituals help characterize communities and identities, and in Dinner with Friends, the characters’ culinary choices become revelatory features of their bourgeois community. In the midst of a friendship crisis, Margulies uses culinary talks to examine East Coast intelligentsia. Beyond their specific approach to ethnic food, he sheds some light on the invisible consequences of their expertise as foodies, bearers of inflexible norms, who resort to soft power to assert their immutable principles. Viewed through the lens of Lauren Berlant’s Cruel Optimism, the enactment of eating strategies – not to mention people’s capacity to cook a good meal – will serve to analyze connections between food and power. Beyond thematic aspects illustrating a crisis, Margulies’s dramatic use of food may reveal his aesthetic strategies in performing crisis.
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Jun. "Crossing, Leaping and Transcendence：Analysis of Pakistani Film and TV dramas Released in China". Pacific International Journal 5, n. 2 (30 giugno 2022): 19–30. http://dx.doi.org/10.55014/pij.v5i2.188.
Testo completoAbstract (sommario):
Abstract: The friendship between Pakistan-China is deeply rooted in the hearts of people of the two countries. The exchanges and mutual learning through the film, television and drama playeda significance role to strengthen the bond among the people of both countries. Since the establishment of diplomatic ties between the two countries, the exchange of film and television products have gone through ups and downs, and the dissemination of Pakistani film and television products have also experienced twists and turns. In 2020, the Pakistani film " Parwaaz Hai Junoon " was released in China, which aroused some response and gave impetus to cultural exchanges. It also open doors for Pakistani films and drama in China. Despite the improvement of the quantity and quality of Pakistani film and television products, these could not spread in China mainland at greater extent, with the advent of the era of "mixed war", the conflict of values has become a problem that should be addressed in film and television communication. The bilateral political trust, ideological security demand at present, ask for promotion of cross-cultural communication through film and television products. There should be mechanisms, which can help to overcome obstacles actively, expand new path, clever use of all kinds of social and short video platform. Pakistani film in China should also ensure communication quality at all level and at the same time boost the cooperation between two countries field of film and television products. The in-depth exchanges and high-level mutual learning in the fields of film and television between China and Pakistan are worth looking forward to.
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Ayşe Bilge Gürsoy, Assoc Prof. "Preserving the Memories by Music: The Collective Conscious in Balkan Songs". International Journal of Arts, Humanities & Social Science 04, n. 07 (14 luglio 2023): 14–25. http://dx.doi.org/10.56734/ijahss.v4n7a3.
Testo completoAbstract (sommario):
Music not only affects the soul but also is a language that we express ourselves and a memory that records our experiences. As seen in the examples of Balkan history, these experiences can be migration, separation, death, and war. Balkan history can be called the history of migrations and wars. Especially the 1878 Ottoman-Russian War, the 1912-13 Balkan Wars, and the First World War caused the migrations of Turks. The recurrent waves of mass migration to mainland Turkey from the Balkans since the late 19th century continuing up to today, about 1/5 of Turkey’s population today is of Balkan origin (Kut, 1997, 42). The pain of migration, separation, suffering, and death seem to live in folk songs called ‘Rumeli Türküleri’ meaning folk songs of Rumelia that draw boundaries between Bulgaria, Greece, and Turkey today. I aim to show the effects of migrations, and wars on people through the study of music. First, I will mention Balkan's historic background, and then I will analyze the lyrics of Rumelian songs together with two examples of songs from Bulgaria and Kosova and analyze the style and rhythm of selected songs. Finally, I will mention how Balkan music keeps legends alive and how it serves as a bridge of friendship between Anatolia and the Balkans today. To show this, I will analyze the folk song ‘Drama Bridge’, which is about Drama that remained within the Greek boundaries after the Balkan Wars, and which is used in the 2010 ECOC (European Capital of Culture) project in Istanbul for the immigrants in Greece and Turkey to understand each other.
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A, Rajeshwaran. "The Morals of Life Shown by Bharathidasan in Pisiranthaiyar’s Play". International Research Journal of Tamil 4, S-7 (30 luglio 2022): 248–53. http://dx.doi.org/10.34256/irjt22s739.
Testo completoAbstract (sommario):
Pisiranthaiyar was a poet of Sangam period. He was very friendly with King Kopperuncholan. He was a devotee of Pandyan Idudai Nambi. He gave advice and political virtue to the king and earned the respect of Pandyan. Pisiranthaiyar lived in a town called 'Pisir' in Pandya country. Bharathidasan has created this drama in the twentieth century with his imaginative poetry, centering on the friendship of the devotees. During the Sangam period, the doctrine of virtue had a great influence on the society. Social life is structured through this religion. Ancient Tamil society was enriched by urban civilization. Tamil civilization was one of the pioneer civilizations of the world before this civilized way of life was built. The education seen in the people and the poets during the Sangam period makes clear the knowledge of the Tamil people. Sangam period is built on individual morality, political virtue, chivalry, arts etc. The types of food that prevailed during the Sangam period, the philosophy of nature, astronomy, mentalism, solvency, commerce, water management, life rituals etc. are the aspects of life. In Pisiranthaiyar’s play, Bharathidasan takes the life of that time in the context of the 20th century for the social development of Tamil people and building the values of life for the upliftment of the Tamil society. In the life of a Tamilian, culture, art, education, and valor are combined, hospitality, kindness, chastity, justice, friendship etc. are mixed in the life of the ancient Tamilians, and Bharathidasan has designed his concept that these values of life should be incorporated in the contemporary environment as well. This review is structured on a qualitative approach. This article examines the living norms of the Tamil people in the context of Pisiranthaiyar's era and the living norms mentioned by Bharathidasan.
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Rogers, Lizzie. "Reading will not find you a husband: Eloise Bridgerton, accomplishment and the ‘thinking woman’ in the early nineteenth-century period drama". Journal of Popular Television, The 11, n. 1 (12 aprile 2023): 27–43. http://dx.doi.org/10.1386/jptv_00091_1.
Testo completoAbstract (sommario):
From the very opening scenes of Bridgerton (), Eloise Bridgerton, the second-eldest daughter, takes centre stage as a character entrenched in a Regency London world, yet immediately identifiable to a modern audience. Her desire to learn and live beyond a conventional path sets her apart in a way that provides hope to a viewing audience that desires from her a myriad of things, including the intertwining of her reticence to marry, her close friendship with Penelope Featherington and intellectual aspirations with longed-for queer representation. This article will explore how the building of Eloise’s character allows for the exploration of the gendering of intellectual freedom on-screen at a place where fact, fiction and audience desires meet. In examining the translation of the complicated nature of the ‘thinking woman’ and ‘accomplishment’ onto screen through the lens of Eloise, and the references and language used, in particular those to Wollstonecraft, as well as audience responses to and desires for Eloise, this article will demonstrate how a conflation of historical reference and modern outlook both re-energizes and often polarizes feminist tropes of the scholarly woman.
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Koh, Oonee, e Yoon Choi. "The Labor Experience and Gendering of Telephone Operators Represented in the Media: Focusing on the Netflix Series <Cable Girls>". Korean Society of Culture and Convergence 45, n. 10 (31 ottobre 2023): 1243–57. http://dx.doi.org/10.33645/cnc.2023.10.45.10.1243.
Testo completoAbstract (sommario):
There has been growing interest in hidden subjects in the development of science and technology and it has been reflected not only in academic research but also in popular culture. This study focuses on the Netflix drama series <Cable Girls>, which features telephone operators who played an important role in the early days of telecommunication, and analyzed the labor experience of the telephone operator. In the late 1920s, the setting of the series, telephone operators were one of the few jobs women could have, and were an object of envy. However, the telephone exchange system at the time was still at infancy and was supplemented by women's emotional labor. In addition, low wages and strict labor regulations were applied. The labor had been gendered, standardized and often invisible. <Cable Girls> depicts the friendship and solidarity of women who want to live their lives independently through their jobs as telephone operators in this working environment. Despite the limitations of being a romance melodrama, <Cable Girls> has a special significance in that it describes the multi-layered aspect of telephone operator, re-examining the hidden labor of telephone operators.
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Rawashdeh, Mohammed A. "Friendship: Perspectives From Two Modern Plays". Theory and Practice in Language Studies 12, n. 11 (3 novembre 2022): 2282–90. http://dx.doi.org/10.17507/tpls.1211.07.
Testo completoAbstract (sommario):
From ancient times until the nineteenth century, loyalty, trust, understanding, forbearance, and empathy were only some of the merits one expected to find as the foundation of true friendship in Western culture. For instance, Aristotle insists that friendship must be “reciprocal” and “must involve a wish for the good of the loved one as an end in itself”. Any friendship based on personal gains, whether tangible or not, would have been dismissed as false friendship. The transition from the relatively simple life of Aristotle’s time and the following centuries to the complex modern age has produced a dramatic change in the Western culture, a change that evidently encompassed the concept of friendship. Whereas the Industrial Revolution initiated a gradual change, shifting the world’s economy from an agricultural to an industrial one, the transition from friendships of ‘excellence’ to friendships of ‘utility’ and ‘pleasure’ was rather more accelerated, in the sense that what was viewed as superficial relationships became, over a short period of time, dominant in modern Western culture and recognized as manifestations of friendship. This study explores this cultural change as depicted in two modern dramas— The Cherry Orchard by Anton Chekhov and A Doll’s House by Henrik Ibsen.
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Rovida Femila Sari, Nur, e Lukman Hakim. "Representasi Pesan Moral Dalam Film Imperfect The Series". Meyarsa: Jurnal Ilmu Komunikasi dan Dakwah 4, n. 2 (31 dicembre 2023): 148–64. http://dx.doi.org/10.19105/meyarsa.v4i2.8594.
Testo completoAbstract (sommario):
Discussions about films as a tool to convey messages are indispensable in public entertainment. With the development of the film world, Web series has recently become the talk of the community. One of the most popular is the series "Imperfect The Series" directed by Naya Anindita with a comedy-drama genre. The storyline is about boarding children with different personalities, regional origins and their purpose in boarding houses. Imperfect the Series. The semiotic theory of Roland Barthes is used by the author for research and the use of a qualitative descriptive approach is shown by dialogue, the behavior of the characters in one of the scenes. Based on the results of research and data analysis, it is obtained that there are two types of code mixing contained in the dialogue between characters. in the film Imperfect the series, namely the inner code mixing and outer code mixing. Friendship occurs because of the support of trust, acceptance and intimacy with each other. Acceptance is caused by good communication. Communication interpersonal is also an exchange namely the act of conveying and receiving messages reciprocally. The foundation of trust includes respecting each other and accepting differences. It is hoped that this research can serve as a reference for similar research in the future.
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Rinaldi, Keyza Baby, e Sisca Aulia. "Analisis Semiotika Representasi Penyintas Pelecehan Seksual Film Like & Share". Koneksi 8, n. 1 (13 marzo 2024): 142–50. http://dx.doi.org/10.24912/kn.v8i1.27603.
Testo completoAbstract (sommario):
The film "Like & Share" is a teenage drama film from Indonesia. The movie narrates the experiences of two friends named Lisa, portrayed by Aurora Ribero, and Sarah, portrayed by Arawinda, as they navigate through their lives and explore their sexuality together. However, the two of them experienced many obstacles in their friendship and also in their traumatic romance. Sarah, who is in a relationship with Devan, experiences sexual thoughts carried out by her boyfriend. In this study, qualitative methods are employed, utilizing John Fiske's semiotic analysis techniques to investigate, scrutinize, and explore the degrees of reality, representation, and ideology in the film Like & Share. The film Like & Share shows acts of sexual violence and what the survivors did in dealing with this problem with persuasive communication so that the victim made peace with the situation by giving a peace statement, but Sarah, as the perpetrator of the sexual disclosure, did not want to embrace it and Sarah took revenge accompanied by her best friend. Lisa. Film “Like & Share” merupakan film drama remaja yang berasal dari Indonesia, film ini berkisah tentang dua orang sahabat bernama Lisa yang diperankan oleh Aurora Ribero dan Sarah yang diperankan oleh Arawinda yang sedang mengeksplorasi kehidupan dan seksualitas mereka bersama. Tetapi banyak rintangan yang mereka berdua alami dalam persahabatan dan juga dalam percintaan yang traumatis. Sarah yang tengah menjalin hubungannya dengan Devan mengalami pelecehan seksual yang dilakukan oleh kekasihnya sendiri. Penelitian ini menggunakan metode kualitatif dengan teknik analisis semiotika John Fiske guna mengetahui, menelaah, dan mendalami level realitas, level representasi, dan level ideologi dalam film Like & Share. Film Like & Share memperlihatkan tindakan pelaku kekerasan seksual dan apa yang dilakukan oleh penyintasnya dalam menghadapi masalah ini dengan komunikasi persuasif agar korban berdamai dengan keadaan tersebut dengan memberikan surat pernyataan damai namun Sarah sebagai penyintas pelecehan seksual tersebut tidak mau menerimanya dan Sarah membalas dendamnya ditemani oleh sahabatnya Lisa.
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Smolak, Kurt. "Homo sum – amicus sum, sive de Terentio Christiano Hrotsvithae Gandeshemensis". Symbolae Philologorum Posnaniensium Graecae et Latinae 31, n. 1 (12 ottobre 2021): 249–63. http://dx.doi.org/10.14746/sppgl.2021.xxxi.1.18.
Testo completoAbstract (sommario):
The most famous line from Terence, homo sum etc. (Heautontimoroumenos 77), has been interpreted in different ways under different circumstances by authors ranging from Cicero and Seneca in antiquity and Erasmus at the beginning of the modern age to figures of the 19th and 20th centuries, such as Friedrich Nietzsche, George Bataille, and Thomas Mann. Augustine of Hippo was the first to refer to Terence within a broader Christian context, and in the 12th century John of Salisbury equated the presumed philanthropic attitude of the Roman comedian and imitator of Menander with charity, the ultimate Christian virtue. Whereas most of the testimonia to the reception of Heautontimoroumenos 77 have already been identified and in part analyzed, a refined indirect ῾quotation᾿ of the line in question has been neglected: In a sort of réécriture of the initial scene of Terence’s drama, Roswita (Hrotsvit) of Gandersheim (10th century), in her hagiographic comedy ῾Abraham᾿, interpreted the even then proverbial sentence by introducing for the attitude of ῾humanity towards one’s neighbour᾿ both the Aristotelian definition of friendship (῾one soul in two bodies᾿) and a reference to the ideal of a Christian society with ‘one heart and one soul᾿ (Acts 4, 32). Thus the Terentian humanum is bothparaphrased by and identified with both an other classical and a Christian concept of mutual human affection.
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Schiltz, Marc. "A YORUBA TALE OF MARRIAGE, MAGIC, MISOGYNY AND LOVE". Journal of Religion in Africa 32, n. 3 (2002): 335–65. http://dx.doi.org/10.1163/157006602760599944.
Testo completoAbstract (sommario):
AbstractIn this paper I approach the efflorescence of witchcraft-sorcery concerns in post-colonial Africa through the personal experiences of Délé, a Nigerian friend and research assistant. At one level, the witchcraft-sorcery incidents offer illustrations of the rural-urban conflict situations that the Comaroffs and other Africanists have written about in recent years. Yet at another level I read Délé's texts for what they are, the chronicles of a real-life drama in which he plays the tragic hero's role. As a storyteller, Délé recalls events in which the actors' virtues, vices, and emotions constantly mirror our own experiences of what people can turn out to be as they progress through life. In Délé's case I perceive such a progression in his shift from a virtue-centred Catholic upbringing in rural Ìséyìn to a more prayer/power-centred aládúrà-Pentecostalism in Lagos, when recently the spectres of mágùn sorcery and witchcraft began to close in on his marriage, livelihood and health. Délé's tale compels me, as a friend and correspondent with a different view of the world, to reconsider the morally universalising aspects of what it entails to be human. I attempt this from the triple perspective of Délé's ancestral roots in traditional Yoruba religion, his attraction towards aládúrà-Pentecostalism in a failed nation-state, and his nostalgia for the missionary Catholicism through which our friendship first developed.
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Pérez-Jiménez, Aurelio. "A Foretold Tragic Fate. Plutarch’s Literary Resources in the Presentation of the scene about the Death of Cleitus by Alexander (Plu., Alex. 50.1-6)". Ploutarchos 19 (28 dicembre 2022): 63–82. http://dx.doi.org/10.14195/0258-655x_19_3.
Testo completoAbstract (sommario):
Despite his Platonic distrust of the didactic value of poetry, including the theater, Plutarch, as an accomplished biographer of characters whose life was full of dramatic situations, applies to their stories a deep-rooted knowledge of the literary strategies of Greek drama. No exception is the anecdote about the death of Cleitus by Alexander. Its plot begins with the king’s friendship with his general, a moment plagued with the ingredients that ancient Greek tragedy reserves for its heroes: Fortune and the fulfillment of destiny, inescapable for them, despite their knowledge of the future, as well as the pride of the hero, confident in the strength of his ideals; and, finally, the tragic irony with which the playwright seems to offer a happy ending, which makes the outcome harder. Plutarch always intervenes with great creative capacity in the presentation of these situations, sometimes transmitted by other sources. And he does it also when he introduces the episode that now concerns me, putting into play all the resources of his style. He thus designs a perfect scenario for the facts, now the discussion between Cleitus and Alejander and the death of the first by the second, adorned with religious references (omens, fortune tellers, unconsummated sacrifices, dreams, etc.) and whose main power is the destiny that, as in a tragedy, will be inescapable for the protagonist (Alexander) and for his antagonist and friend (Cleitus).
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Popławska, Agata, e Olena Bocharova. "Threatened Childhood in the Drawings of Ukrainian Children". Lubelski Rocznik Pedagogiczny 42, n. 4 (14 febbraio 2024): 77–96. http://dx.doi.org/10.17951/lrp.2023.42.4.77-96.
Testo completoAbstract (sommario):
Introduction: In the 21st century, most children experience favorable conditions for development and are protected by their loved ones, who provide them with a happy and safe childhood. Nonetheless, it cannot be forgotten that there are still many thousands of children around the world who experience oppression and whose childhood is destroyed by adults due to abandonment, neglect, and mental and physical violence. Research Aim: The aim of the study was to attempt to discover and understand the individual traumatic war experiences of Ukrainian children, externalised in drawings. Method: Qualitative methods were used which allowed for an understanding of the way in which life situations are experienced by those studied. Projective techniques were used to analyse and interpret children’s drawings. Results: In the analysis of the drawings of Ukrainian children who have experienced war trauma, 5 main categories were differentiated: 1. Mummy, I see war; 2. My Father– Hero; 3. Friendship in the face of tragedy; 4. Putin is dead; and 5. Ukraine victorious. The drawings tell a tale of the cruelty which the children have experienced, which they have seen and felt, and which they carry inside themselves. Conclusions: The children’s drawings are a space for the externalisation of unspoken feelings. The children’s works demonstrate that suffering, uncertainty, fear for their own lives and the lives of loved ones, and the drama of the sudden loss of a carefree childhood and entry into the cruel world of adults are permanently etched into their memories.
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Mosusova, Nadezda. "Prince of zeta by Petar Konjovic: Opera in five/four acts on the 125th anniversary of the composer's birth". Muzikologija, n. 8 (2008): 151–63. http://dx.doi.org/10.2298/muz0808151m.
Testo completoAbstract (sommario):
Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the second and final 1929-1939), followed by Kostana (1928), Peasants (1951) and Fatherland (1960). Konjovic's mature operas are characterized by his masterful handling of form, both in close-ups and in detail, as well as his deeply individual assimilation of musical folklore into his work. The Prince of Zeta is not to be understood as a folk opera, but some main themes are directly derived from folk music, precisely from the Montenegrin folk songs quoted in the Mokranjac's Ninth Garland and treated in Konjovic's post-romantic, almost expressionistic way, interwoven with some Italianate leitmotifs, so as to present the opera's two worlds, Montenegrin and Venetian. In the process of forming Konjovic's operatic style, with vocal parts based mainly on the principle of declamation, the opera Prince of Zeta (first performed in Belgrade, 1929, conducted by Lovro von Matacic) proved to be a work of great impact. Hardly anyone grasped then the wide sweep of inspiration which allowed the composer to set and to solve several important problems connected with music drama, essential also in his subsequent stage works. First of all, Konjovic had to handle in his own way the verbal drama the prototype of his opera, Maxim Crnojevic by the Serbian poet Laza Kostic (1841-1910). Permission came from the playwright in the first decade of the 1900, Prince of Zeta being partly set musically, but from then on with new interventions in the poet's text. Being a highly skilled writer, poet musicologist and essayist (he wrote four books and a great number of articles on music and the theatre, and translated opera librettos of Wagner and Moussorgsky), Konjovic felt free to introduce some daring alterations to the literary works he used for his music dramas. So it was with the play Maxim Crnojevic, premiered in Novi Sad in 1870 (printed in the same place in 1846 and 1866). On the other hand, the young poet Kostic (he was in his early twenties when he wrote Maxim Crnojevic) had the prototype for his play in the folkpoem The Marriage of Maxim Crnojevic, turning a naturalistic folk-story into a Hellenic-Shakespearian drama of friendship and love, full of chivalrous deeds and emotions. The once handsome Maxim, his face ruined by heavy disease, can no longer make his marriage with the doge's daughter Angelica (with whom he was already acquainted). The nobles of Montenegro particularly Ivo Crnojevic, who in the meanwhile, proud of his son, boasted in Venice, conspire a doublecrossing plot (with another man, Milos resembling Maxim as bridegroom) which works in the folk-poem, in some ways in drama, but not in the opera, with the story changed by Konjovic. The difference between drama and folk poetry is essential: in Montenegro Maxim murders Milos for the doge's daughter's dowry, on their way back. In the play, too, the tragic event takes place in Montenegro: on the way home Maxim kills Milos, thinking Milos is going to keep the beautiful Angelica for himself (the agreement was that he will hand over the bride to Maxim immediately after the wedding in Venice), then commits suicide realizing his fatal mistake. The girl, deeply disappointed leaves Montenegro. In the opera Maxim reveals the truth to Angelica in Venice, before she is to be wedded with Milos, and stabs himself. She chooses death also, drinking poison - a dramatically and musically very capturing finale in the style of Romeo and Juliet! In some recently performed versions of the opera (1989) the director (Dejan Miladinovic) and conductor (Oskar Danon) returned to the playwright's original denouement, avoiding the Shakespearian end of Konjovic (although in the spirit of Kostic who was also appreciated as a skillful translator of Shakespeare into Serbian language). In the opera Prince of Zeta Konjovic focuses on Ivo Crnojevic, making his role dominant to that of Maxim. The unhappy father, the tragic Hellenic figure, is with his son Maxim the main historical personality in both opera and drama. Zeta forms part of present-day Montenegro but was independent for a short period, then came under Byzantium, and eventually Rashka-Serbia. After the fall of last remnants of the Serbian vassal state in 1439, Zeta was partly independent protected by Venetians under the ruler Ivo Crnojevic, before the Turks grasped Montenegro. Serbian drama, which is usually trochaic, took an iambic course in Kostic's play. The composer preserved the poet's iambs, following the musically accented flexions of spoken language, which remains the main feature of his style. The impressive vocal parts, especially those of Ivo Crnojevic, starting from the Prologue and the first act, are supported by the dynamic and highly symphonized orchestra. For effective choral music the monks' ensemble in the second act (in the final version) and the dramatic Venetian carnival scene with the stylized Montenegrin folk-dances should be noted in both versions. With Prince of Zeta the author definitely made a distinguished name as a composer in Serbian culture, with a strong influence on younger generations of Serbian musicians.
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Cho, Hyowon. "Vergangene Vergängnis: Für eine Philologie des Stattdessen". arcadia 52, n. 1 (24 maggio 2017): 74–94. http://dx.doi.org/10.1515/arcadia-2017-0005.
Testo completoAbstract (sommario):
AbstractBetween Erich Auerbach and Walter Benjamin, there existed a remarkable friendship, which on the one hand manifested itself as an unobtrusive disputation, and yet which on the other hand could be considered an unintended collaboration toward an old-new ideal of philology. Auerbach claims that with the Divine Comedy of Dante Alighieri, Western European literature reached the climax of the figuralism that Auerbach, if belatedly, wants to bring to the fore. Benjamin, in contrast, finds energy for the revolution in the surrealistic love that traces back not to Dante, but to the Provençal poetry which Auerbach regards merely as preliminary to Danteʼs literary achievement. In his The Origin of German Tragic Drama, Benjamin highlights the concept of creatureliness, whose significance for his philosophy of history is no less than that of justice. Auerbach, for his part, does not find its expression in the Germany of the 17th century, but in the France of the 16th century, namely in the work of Michel de Montaigne. However, Montaigneʼs creatureliness is rooted in sermo humilis, which is best embodied in the story of Peter who denied his Lord Jesus Christ three times. By contrast, German creatureliness detects its dissolution in the idea of natural theatre that Benjamin locates in the work of Franz Kafka. Sermo humilis is the perfection of figuralism, whereas the idea of natural theatre means reversal of allegory. The perfected figuralism and the reversed allegory cooperate in the idea of the philology of instead (Philologie des Stattdessen), whose task it is to make bygone the futility of worldly things.
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Zhakibaeva, K. A. "The skill of the playwright Baydilda Aidarbek in depicting images of the past and modern times". Bulletin of Kazakh National Women's Teacher Training University, n. 3 (2 ottobre 2023): 49–63. http://dx.doi.org/10.52512/2306-5079-2023-95-3-49-63.
Testo completoAbstract (sommario):
This article is devoted to the work of B. Aidarbek. He was born in the Suzak district of South Kazakhstan region (1959) and worked as a school teacher until retirement. Baydilda Aidarbek was previously better known for his poetry, and now he began to find his place in modern Kazakh drama. A deep scientific analysis of the plays of this author has not been carried out until today. The purpose of the article is to reveal the playwright's skill in depicting the past and modern times, in creating vivid images. In the work on the article, the author used the methods of reflection, analysis and comparison. The scientific novelty of this study consists in a detailed analysis of B. Aidarbek's dramaturgy. During the research, the author interviewed the playwright. Along with creativity, the author's path was filled with teaching. So, in the play "Mentor" ("Ustaz") the complex aspects of pedagogical work are revealed. In the plays "The Golden Throne of the Golden Horde", "Returned Happiness", "Jahid", "The Trial of Fate", "The Height of Aliya", "My Soul is my Honor", "The country begins from the Cradle", "Sin and Punishment", "Fulfilled Desire", "The Limit of Lies", "Love and friendship" ("Altyn ordanyn altyn tagy", "Kaita oralgan bakyt", "Zhahid", "Tagdyr taukymeti", "Aliyanyn biigi", "Zhanym – arymnyn sadagasy", "El bolamyn desen, besigindi tyze", "Kune men zhaza", "Oryndalgan tilek ", "Otiriktin shegi", "Mahabbat pen dostyk") and other works are reflected the moral issues of the past and present. These plays were shown on the stages of the people's theaters of the Sozak district, Shymkent, Taraz, Kyzylorda and Almaty.