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1
Gozansky, Yuval. "Fifty Years of Drama on Israeli Children’s Television". Israel Studies Review 33, n. 2 (1 settembre 2018): 123–47. http://dx.doi.org/10.3167/isr.2018.330208.
Abstract (sommario):
This article analyzes the changes in drama series in the first five decades (1966–2016) of Israeli children’s television. Based on interviews with 27 central producers, this cultural-historical study seeks to explain the significance attributed to children’s drama over the years. Early children’s drama series in Israel were instructional or educational, but they also sought to control the representation of childhood under the direct supervision of the state. The neo-liberal privatization process in Israeli society led to the creation of locally produced, Hebrew-speaking daily dramas on private channels for children. In the multiscreen environment created by the age of multichannel television and digital media, original Israeli daily drama shows functioned as a central branding tool for children’s channels. The article contends that these shows became one of the producers’ key answers to the changes in children’s viewing habits and, more particularly, linear television’s strategy for success in a world of multiple online screens.
2
Lagaay, Alice. "Kristin Gjesdal, The Drama of History: Ibsen, Hegel, Nietzsche". Modern Drama 65, n. 3 (1 ottobre 2022): 415–54. http://dx.doi.org/10.3138/md-65-3-br02.
Abstract (sommario):
The Drama of History: Ibsen, Hegel, Nietzsche explores the exchange between philosophy and drama in the works of Henrik Ibsen. Kristin Gjesdal shows how his plays go beyond Hegelian and Nietzschean notions of historicity to reflect the emergence of modern subjectivity in the nineteenth century.
3
Syukri, Muhammad, e St Rahmaniah Bahrun. "INTERSECTING AND RECOGNIZING THE VALUE OF CULTURE THROUGH LOCAL HISTORY DRAMA “TOPEKKONG AGREEMENT”". JLE: Journal of Literate of English Education Study Program 2, n. 01 (29 luglio 2021): 14–24. http://dx.doi.org/10.47435/jle.v2i01.650.
Abstract (sommario):
Presenting drama as a tool in the learning process, especially English learning has been advanced. For a local history drama technique, one of them is to use drama. In this study, to increase the students' knowledge of their community, a drama using local history is interesting. The drama will build up learners who are proud of their community. In this case, the analysis shows how students intersect and recognize the importance of culture. Via a questionnaire, I collected the data to understand the interest of students by using the local history drama in the learning process. The element that the study finds is how the students intersect and understand the culture's meaning. The outcome indicates that none of the students state a derogatory comment about the use of techniques for local history drama. Sixty-five (86.67 percent) students were highly involved in the students' range of 66-80 percent. The highest score was 79, categorized as highly interested, and the lowest score was 61, categorized as an interesting group, based on the student scores on the questionnaire (see appendix 6 ). It is proposed that learning English through the use of local history drama could present the understanding of their cultural value as a pride in their life to the students.
4
Khawaldeh, Imad M., Baker Bani-Khair e Nisreen Al-Khawaldeh. "Recalling the Past in Postcolonial Drama: From Counter-History to Sociopolitical Redress". Advances in Language and Literary Studies 8, n. 5 (2 novembre 2017): 71. http://dx.doi.org/10.7575/aiac.alls.v.8n.5p.71.
Abstract (sommario):
Through examining the texts of Ama Ata Aidoo's play Anowa (1970), Jack Davis's play Kullark (or Home)(1979), and Dennis Scott's play An Echo in the Bone (1974); this paper shows how postcolonial drama functions as an effective means for exploring occluded pre-colonial and colonial periods through constructing alternative histories that both refract the official accounts of the colonialist history and redress or treat contemporary societal and political exclusions. To this end, the researchers argue that the counter-discursive/ counter-historical task of many historical postcolonial dramas is to reconstruct their histories in a way that confirms the essential socio-political function of such plays. In this sense, a conscious linkage is being made between contemporary post-colonial communities and their past pre-colonial and colonial histories.
5
.V, Praveen S. "Shakespeare-The Brand". International Journal of Emerging Research in Management and Technology 6, n. 8 (25 giugno 2018): 179. http://dx.doi.org/10.23956/ijermt.v6i8.135.
Abstract (sommario):
William Shakespeare is known to the world as one of the greatest dramatist in the history of English Literature. It is unusual to attribute either Shakespeare or his works in the world of marketing, yet it is the fact that, even after 450 years, Shakespeare is still a recognizable and powerful brand in the world of today. Shakespearean festival was still being celebrated all over the world. Royal Society of Shakespeare still performs Shakespearean dramas every year, in more than twenty languages. It shows the brand image of Shakespeare, having in the world today. Aristotle, a Greek Philosopher, in his attempt to understand poetry and drama, expressed his view in his famous work Poetics that, both drama and poetry appeals to the emotions of a reader and spectators. The success of a drama, depends on the extent to which, a dramatist can able to capture the emotions of the audience. It is necessary for writers to have a unique brand personality to market their art. Every writer has their own set of target audience and follows various strategies to satisfy them. This paper deals with, how Shakespeare employed different strategies to create his own brand image, that helped him positioning his art among his target audience, thus ending up creating one of the greatest and powerful brand image in the History.
6
Xiang, Meng, e Kyung Hoon Han. "A Comparative Analysis Study on Musical Characteristics Shown in the Use of Modes in Korean and Chinese Classical Drama OSTs: Focusing on the Analysis of the Theme Melody of Major Underscores". Korean Society of Culture and Convergence 45, n. 11 (30 novembre 2023): 1289–99. http://dx.doi.org/10.33645/cnc.2023.11.45.11.1289.
Abstract (sommario):
The purpose of this paper is to understand the musical features in the use of modes in Korean and Chinese classical drama OSTs, with the intention of providing assistance to music creators who wish to produce OSTs for classical dramas. To achieve this, we explore the overall musical flow of classical drama OSTs, focusing on the analysis of the main insert songs' thematic melodies. In order to grasp the commonalities and differences, we analyze the thematic melodies of key insert songs, covering the period from 2020 to 2023, selecting the top 12 OST songs from dramas that entered the top 3 viewership rankings in Korea and China. As a result, commonalities and differences in the musical characteristics of OSTs from classical dramas in Korea and China were identified. It is hoped that this will contribute to exploring ways to utilize classical drama OST production and serve as valuable information and foundational material for the development of drama music genres.
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Park, Ji Hoon, Yong Suk Lee e Hogeun Seo. "The rise and fall of Korean drama export to China: The history of state regulation of Korean dramas in China". International Communication Gazette 81, n. 2 (11 ottobre 2018): 139–57. http://dx.doi.org/10.1177/1748048518802915.
Abstract (sommario):
In October 2016, approximately 3 months after the Korean government agreed to host the Terminal High Altitude Area Defense, TV stations and online streaming platforms in China stopped airing Korean dramas, movies, TV shows and commercials that featured Korean celebrities. While the post-Terminal High Altitude Area Defense blockade of Korean cultural products received much attention, the restriction should not be taken as an idiosyncratic case of cultural retaliation over the deployment of Terminal High Altitude Area Defense in the Korean peninsula. Chinese government regulation of Korean TV shows should be understood in the larger context of restricting the inflow of capitalist culture, which is viewed as a threat to socialist ideology and national security. We discuss the historical trajectory of the rise and fall of Korean drama export to China (1996–2018) to discuss the continuing role of the state in transnational cultural flows.
8
Milne, Drew. "Cheerful History: the Political Theatre of John McGrath". New Theatre Quarterly 18, n. 4 (novembre 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.
Abstract (sommario):
In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
9
Gędas, Katarzyna. "Foreword by Boris Pasternak to Maria Stuart by Frederick Schiller". Tekstualia 2, n. 65 (13 settembre 2021): 141–44. http://dx.doi.org/10.5604/01.3001.0015.2786.
Abstract (sommario):
The article is an editorial preparation of Boris Pasternak’s foreword written to the Frederick Schiller’s drama Maria Stuart, which he translated. Circumstances have been described which meant that the text was not fi nally included in the edition. The editorial history of the Polish translation of the foreword by Seweryn Pollak is also presented. In his sketch Pasternak shows the background of Schiller’s work, presents the tragic biography of Maria Stuart and describes the way the characters in the drama are created.
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Warner, Sara, e Mary Jo Watts. "Hide and Go Seek: Child’s Play as Archival Act in Valerie Solanas’s SCUM Manifesto". TDR/The Drama Review 58, n. 4 (dicembre 2014): 80–93. http://dx.doi.org/10.1162/dram_a_00400.
Abstract (sommario):
In contrast to celebratory chronicles that sanitize queer history, Valerie Solanas’s SCUM Manifesto casts bad girls as the central protagonists in the drama of social change. Archiving the adolescent urges and puerile political yearnings of degenerate dykes, it shows revolution to be a dirty girl’s game.
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Ruru, Li. "Sino the Times: Three Spoken Drama Productions on the Beijing Stage". TDR/The Drama Review 45, n. 2 (giugno 2001): 129–44. http://dx.doi.org/10.1162/105420402760157727.
Abstract (sommario):
Today's modern theatre in Beijing shows new talents and direc—tionsas well as problems that are part of the uncertainties of Chi-nese society—in what may be the most intriguing transitional period in Chinese history.
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Lowe, N. J. "I Comedy: Definitions, Theories, History". New Surveys in the Classics 37 (2007): 1–20. http://dx.doi.org/10.1017/s0017383508000430.
Abstract (sommario):
Comedy’, from Greek komoidia, is a word with a complex cultural history. Its modern, as opposed to its ancient, use covers all formally marked varieties of performed humour, whether scripted or improvised, group or solo, in any medium: theatre, film, television, radio, stand-up, and various hybrids and mutations of these. It is also, by extension, applied more loosely to novels and other non-performance texts that share recognizable features of plot, theme, or tone with the classical tradition of comic drama; and used more loosely still as a casual synonym for humour’. As a countable noun, however, the word is restricted to works with a narrative line; thus sketch shows, stand-up, and variety acts can be comedy’ but not comedies’.
13
Neima, Anna. "The Politics of Community Drama in Interwar England". Twentieth Century British History 31, n. 2 (28 novembre 2019): 170–96. http://dx.doi.org/10.1093/tcbh/hwz035.
Abstract (sommario):
Abstract There was a wave of reform-oriented drama across England in the 1920s and 1930s, which extended from urban, socialist theatre to the ‘late modernist’ enthusiasm for rural pageantry and from adult education to Church revival. Most scholarship looks at drama in these various milieus separately, but this study of three plays that were put on in a corner of South West England—a nativity play, an innovative ‘dance-mime’, and a Workers’ Educational Association narrative piece—brings them together. These plays shared a connection to Dartington Hall, a social and cultural experiment set on a large estate in Devon in 1925 by an American heiress, Dorothy Elmhirst, and her Yorkshire-born husband, Leonard, which became a nexus for the various strands of community-seeking theatre evident in interwar England—as well as for social reform more generally. This article shows how dramatic performances formed part of the quest for communal unity that was a dominant strand in social thinking between the wars: driven by fears about class strife, the effects of democratization, the recurrence of war, and the fragmenting effects of secular modernity, elites, artists, and activists of diverse hues tried to reform the very idea of Englishness by putting on plays—fostering values of community and communality, while often taking inspiration from an idealized vision of the rural community of England’s pre-industrial past.
14
Gusev, Alexey O. "Dramatic Methods in G. N. Chukhray’s «Ballad of a Soldier»". Vestnik of Saint Petersburg State University of Culture, n. 1 (58) (2024): 118–22. http://dx.doi.org/10.30725/2619-0303-2024-1-118-122.
Abstract (sommario):
In modern cinematography, alongside with consistent and traditional, distinct types of nonlinear drama are used. Many of these types were developed on the border line between the 1950s – 1960s, one of the most active periods of the renovation of the film language. In the history of cinematography the discovery of a number of new dramatic methods was made by film producers of the so-called author’s cinematography. G. N. Chukhray’s film «The Ballad of a Soldier» (1959) vividly shows a tendency towards a fragmentary «block» composition of the plot. And new, for that time, principles to organize action development were used. The article studies the peculiarities of the film drama of «The Ballad of a Soldier» and analyses the correlation of the plot, subject and composition in the film. At the same time in Russian contemporary art history there are very few special works devoted to the problems of the typology of the cinema drama of that period in the context of their influence on modern cinematography. It allows one to speak about the actuality of the article.
15
Wiedlack, Katharina. "The Romanovs on Contemporary American TV". Historical Reflections/Réflexions Historiques 50, n. 2 (1 giugno 2024): 46–60. http://dx.doi.org/10.3167/hrrh.2024.500204.
Abstract (sommario):
Abstract This article analyzes the Netflix six-part docudrama The Last Czars as well as the Amazon Prime anthology drama The Romanoffs for its representations of Russian imperial history and its heritage. Using an intersectional lens, it utilizes a close watching of the TV shows to identify a nostalgia for Russia's imperial legacy as core element of both series. Embedding the findings within popular culture, the analysis further shows that the nostalgic depiction of the last Russian imperial family and the mourning of their loss has a century-long history within American media. Comparing these depictions further to recent commemorations of the last Romanovs through the exhibitions Russia My History points to the Western complicity in Russian imperialist and colonial ideology through the recent shows in liberal American media.
16
Klein, Christian. "Das Schicksalsdrama des 19. Jahrhunderts als ›Zeitphänomen‹ zwischen literarischer Tradition und gesellschaftlicher Transformation". Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, n. 1 (4 giugno 2019): 220–39. http://dx.doi.org/10.1515/iasl-2019-0011.
Abstract (sommario):
Abstract This article focuses on the genre of the ‘drama of destiny’ (Schicksalsdrama), which was particularly popular in Germany between 1810 and 1825, and which – following the premiere of Friedrich Schiller’s Die Braut von Messina (The Bride of Messina, 1803) – reestablished an ancient concept of destiny as a category of understanding. Through an analysis of Zacharias Werner’s drama Der vierundzwanzigste Februar (The Twenty-fourth of February, 1809), this article shows how the reference to destiny offered a fitting model of meaning to nineteenth-century audiences facing a challenging time of shifting values and socio-political change and uncertainty.
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Sark, Katrina. "Fashion in Copenhagen films and TV shows". Clothing Cultures 8, n. 2 (1 dicembre 2021): 171–96. http://dx.doi.org/10.1386/cc_00052_1.
Abstract (sommario):
This article examines the representations of fashion and clothing through the history of Copenhagen films and TV shows. Because a comprehensive study of Copenhagen media does not yet exist, we have reviewed, compiled and analysed many examples of historical and contemporary films and television shows that have a special relationship with the city and its fashion. We examine the ways in which the city is mediated, how various film genres (including social realism, historical costume dramas and contemporary lifestyle dramas) and TV shows (ranging from historical and political dramas to Nordic noir crime series) use the characters’ clothing as signifiers and representations of class, careers, lifestyles and identities. The clothing and fashion in these works reveal many underlying cultural messages, motivations of the characters, as well as important social, cultural and political commentary on the city as a microcosm for society at large. Our methodology is grounded in cultural history, fashion history and media analysis, with a particular attention to the cultural, political and urban transformations in Copenhagen over the decades, and the role fashion plays in the city’s cultural landscape.
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Bigildinskaya, Olga V. "CHEKHOV'S PLAY THE “THREE SISTERS” AND THE PLAY'S SOUND PALETTE: PROBLEMS OF INTERPRETATION". Proceedings of Southern Federal University. Philology 27, n. 1 (31 marzo 2023): 33–45. http://dx.doi.org/10.18522/1995-0640-2023-1-33-45.
Abstract (sommario):
Chekhov's drama “Three Sisters” is the richest of all Chekhov's plays in terms of sound design – despite a number of scientific works devoted to the sound score of the play, it still attracts the attention of researchers in this aspect. Today it seems relevant to consider the sounds, noises, musical fragments of the drama, recorded by the author in the remarks and text, constituting an integral part with the semantic field of the drama. This article shows that the sound concept of the play was carefully thought out by Chekhov in relation to the images he created and the events unfolding in the play – for each act and the play as a whole, and therefore the sound palette of the drama is its integral part and should be read by the directors as part of the author's intention. Examples of sound design of several significant performances in the history of the world theater of different years staged by K.S. Stanislavsky, Vl.I. Nemirovich-Danchenko, A.V. supplementing the article, actualize attention to the sound palette of the play and expand the possibilities of interpreting the Chekhov’s play.
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Meraj, Bushra, e Ali Hassan Khan. "Traces of Marxism leading to Color Prejudice in the Novel based drama". International Journal of Linguistics and Culture 3, n. 2 (16 dicembre 2022): 123–38. http://dx.doi.org/10.52700/ijlc.v3i2.124.
Abstract (sommario):
The character of Parizaad from the drama Parizaad, aired on Hum TV in 2021, is the subject of the current study. Using Marxist theory, we were able to better understand the character of Parizaad in the narrative. The qualitative analysis of the data was carried out by the researcher. Its possible that Marxism had an influence onthis drama. Hashims Urdu novel Parizaad shows the terrible reality of Pakistani society in all its complexity, and is a must-read for anybody interested in the countrys history. For a change, its a breath of fresh air to read a story that takes on Pakistani societys laws as well as the rich and powerful in such a straightforward way. Numerous Parizaad have died as a result of the current societal system crushing them under its weight. Race, injustice, and socioeconomic inequality are just a few of the issues that are addressed in it. It has been identified that the drama portrayed the racial and class discrimination in the society through realistic lens and exposed the plight of the poor, marginalized and often ridiculed poor class.
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Mullen, Mary L. "Untimely Development, Ugly History:A Drama in Muslinand the Rejection of National-Historical Time". Victoriographies 3, n. 2 (novembre 2013): 161–83. http://dx.doi.org/10.3366/vic.2013.0130.
Abstract (sommario):
This article considers the politics and aesthetics of the colonial Bildungsroman by reading George Moore's often-overlooked novel A Drama in Muslin (1886). It argues that the colonial Bildungsroman does not simply register difference from the metropolitan novel of development or express tension between the core and periphery, as Jed Esty suggests, but rather can imagine a heterogeneous historical time that does not find its end in the nation-state. A Drama in Muslin combines naturalist and realist modes, and moves between Ireland and England to construct a form of untimely development that emphasises political processes (dissent, negotiation) rather than political forms (the state, the nation). Ultimately, the messy, discordant history represented in the novel shows the political potential of anachronism as it celebrates the untimeliness of everyday life.
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OLSZYNKO-GRYN, JESSE. "Thin blue lines: product placement and the drama of pregnancy testing in British cinema and television". British Journal for the History of Science 50, n. 3 (settembre 2017): 495–520. http://dx.doi.org/10.1017/s0007087417000619.
Abstract (sommario):
AbstractThis article uses the case of pregnancy testing in Britain to investigate the process whereby new and often controversial reproductive technologies are made visible and normalized in mainstream entertainment media. It shows how in the 1980s and 1990s the then nascent product placement industry was instrumental in embedding pregnancy testing in British cinema and television's dramatic productions. In this period, the pregnancy-test close-up became a conventional trope and the thin blue lines associated with Unilever's Clearblue rose to prominence in mainstream consumer culture. This article investigates the aestheticization of pregnancy testing and shows how increasingly visible public concerns about ‘schoolgirl mums’, abortion and the biological clock, dramatized on the big and small screen, propelled the commercial rise of Clearblue. It argues that the Clearblue close-up ambiguously concealed as much as it revealed; abstraction, ambiguity and flexibility were its keys to success.
22
Shepherd, Simon. "Blood, Thunder and Theory: The Arrival of English Melodrama". Theatre Research International 24, n. 2 (1999): 145–51. http://dx.doi.org/10.1017/s0307883300020769.
Abstract (sommario):
One of the surest ways of registering disapproval of a play or a performance is to dismiss it as ‘melodramatic’, thus invoking a whole network of mistaken dramatic values and improper practice. In arts reviews, classrooms and text books, ‘melodrama’ recurs as the ‘other’ of ‘proper’ realist drama. In English Drama: A Cultural History, we describe the critical history of melodrama as ‘The Unacceptable Face of Theatre's importance and seriousness. One of the most influential interventions came from Peter Brooks, whose Melodramatic Imagination propounds two arguments in favour of melodrama'scultural centrality: first, Brooks shows how Diderot and Rousseau anticipated the French form of melodrama, then he makes connections between melodramatic gesture or sign and the work of Saussure or Barthes. My aim here is to develop the case further by suggesting that, in the case of English melodrama, the practice of the form as it emerged was very far from being non-intellectual, out of control or stupid. Indeed the dramatists themselves were well conscious of what they were doing formally: not only intelligence but also self-reflection were there from the start.
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Sudardi, Bani, e Istadiyantha Istadiyantha. "Relationship of Javanese Language and History in Javanese Manucripts". International Journal of Research and Scientific Innovation XI, n. III (2024): 611–17. http://dx.doi.org/10.51244/ijrsi.2024.1103042.
Abstract (sommario):
The Old Javanese language has experienced a long journey. This journey can be seen from several manuscripts that have been found. Javanese language shows a development of language from time to time. This shows that in the Old Javanese language and in the Old Javanese manuscripts there is a history. It is very important for the study of past Indonesian culture. The aim of this research is to get an overview of the development of the language stored in drama manuscripts from time to time as well as an overview of the history of the language and manuscripts as depicted in the discovered manuscripts. There are three periodization of Javanese language. Each periodization left manuscripts preserved in various places. In the manuscripts, there is also a historical background that we can see to this day. For example, the Ramayana kakawin left historical traces in the form of reliefs of Prambanan Temple that took stories from the Ramayana. This shows that the Ramayana in the past was a story that was very popular and appreciated. During the Central Java period, a type of literary work emerged that was colored with elements that were often referred to as kidung. Various materials of this hymn still take from Indian stories, but nevertheless have undergone modifications. Because of their vastness and long distances, the current manuscripts require a rescue conservation.
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Achinstein, Sharon. "A Common Humanity? From Poetry to Philosophy in Hugo Grotius". Renaissance Quarterly 76, n. 1 (2023): 84–123. http://dx.doi.org/10.1017/rqx.2022.441.
Abstract (sommario):
This essay shows how Hugo Grotius (1583–1646) made use of classical poetry and drama, especially that of Lucan, Euripides, and Seneca, in developing his thought on the treatment of captives, prisoners of war, and slaves, and argues that his method was humanist and philological. From his early publishing projects to “The Rights of War and Peace” (De Iure Belli ac Pacis, 1625), Grotius developed an account of common social experience, a formal mechanism to represent dialogue with difference, and a refusal to apply categorical distinctions positing natural difference among peoples. His engagements with classical poetry and drama are thus an important piece of the story of early modern thought.
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Szturc, Włodzimierz. "Danton. Wektory interpretacji filmu Andrzeja Wajdy". Przestrzenie Teorii, n. 27 (15 dicembre 2017): 59–76. http://dx.doi.org/10.14746/pt.2017.27.7.
Abstract (sommario):
In this paper, the author presents the final period of the French Revolution as interpretated by Andrzej Wajda. The screenplay was prepared by Jean-Claude Carrière based on Stanisława Przybyszewska’s drama (also used by Wajda as a screenplay in many dramas). It helped the director to describe the reality of the intense time of Robespierre’s terror and Jacobin efforts to guillotine Danton and his allies. Wajda reveals the same mechanisms of crime, manipulation and lies which became the backdrop for political events in Poland between 1981-1983 (especially with the introduction of martial law in Poland in 1981). The model of Danton’s fall and the strengthening of totalitarian rule are considered the current model of history, which is based on cruelty and the struggle for power. The film forms the basis for a broader view of history as the tragic entanglement of events, which is the result of hubris and the desire for material goods, and is the origin of totalitarian rule. References to the emblems of the revolution, allegories, and the symbolism of art (paintings of David) are the fundamental ekphrasis of meanings set by the film. Wajda’s analysis of Danton shows some typical ways of understanding and interpreting the signs of culture and history.
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Vikhrova, K. A. "“Personal drama defined by history”: Philip Roth’s artistic method in “American pastoral”". Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 8, n. 2 (30 giugno 2023): 95–107. http://dx.doi.org/10.18522/2415-8852-2023-2-95-107.
Abstract (sommario):
The article analyzes the implementation of Philip Roth’s (1933–2018) artistic method in the novel “American Pastoral”, which connects the historical events with a personal family drama and problematizes the Jewish identity in diaspora. The analysis shows that several key events from the history of the United States (the second half of the 20th century) were used as a conceptual basis for narrative structure and for the set of characters. World War II, the Vietnam War, which Roth had not previously discussed in a comprehensive manner, the 1967 Newark riots, and the Watergate scandal turn out to be not a panoramic background, but a dynamic force. References to the events help the narrator – Nathan Zuckerman, Roth’s alter ego – form a non-linear plot: the large-scale events are to center each part of the novel and determine the nature of the period and the characters. The protagonist of the novel is Seymour “The Swede” Levov, an entrepreneur, a veteran of World War II, the embodiment of the American dream, symbolizing good old America during the times of economic growth. Seymour's pastoral life is destroyed by the inevitability of historical process that intrudes the family idyll: a terrorist attack committed by Seymour's daughter Meredith in support of the Vietnamese people “returns the war” to Lyndon Johnson and breaks the family ties. Attempts to find the root of evil retrospectively lead Seymour and Zuckerman to the idea of the cruelty of American history and the atomic nature of society. The ongoing dialogue between Jewish and American cultures is represented by the images of Seymour and Merry as both, individualized and collective images, actors of history who (re)shape the American dream.
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Castillo-Muñoz, Verónica. "Historical Roots of Rural Migration". Mexican Studies/Estudios Mexicanos 29, n. 1 (2013): 36–60. http://dx.doi.org/10.1525/msem.2013.29.1.36.
Abstract (sommario):
This article examines the human drama of displacement and the historical relationship between economic inequalities and rural migration in Nayarit, Mexico. It shows how during the 1940s indigenous peoples, in particular, were excluded from receiving agricultural subsidies for the cultivation of corn. The lack of subsidies spurred a massive outmigration of these communities to the Nayarit lowlands and the United States. This historical analysis will help us understand why rural Mexican workers adapted to a migrant life, which continues to this day. Este artículo examina el drama humano del desplazamiento y la relación histórica entre las desigualdades económicas y la migración rural en Nayarit, México. En él, se muestra cómo durante la década de 1940 los habitantes indígenas, en particular, fueron excluidos de los subsidios agrícolas para el cultivo del maíz. La falta de subsidios alentó una emigración masiva de estas comunidades a las tierras bajas de Nayarit y Estados Unidos. Este análisis histórico nos ayudará a comprender por qué los trabajadores rurales mexicanos se adaptaron a la vida de migrantes, que sigue vigente hasta la fecha.
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Zilka, Gila Cohen, e Chen Goldberg. "Watching of Scary TV Shows by Children and Youth, Identification With Characters, and Resulting Fears and Nightmares". Review of European Studies 13, n. 1 (23 novembre 2020): 1. http://dx.doi.org/10.5539/res.v13n1p1.
Abstract (sommario):
The identification of children and adolescents with characters from the television programs they watch is not limited to the time when they view the program. The connection with the characters continues across the use of various digital means and in various realms of the children’s lives. The purpose of the present study was to examine the connections between patterns of use of various media, the degree of identification with characters from the programs watched, and the fears and nightmares experienced by the children after watching these programs. This is a mixed-method study. Two hundred ninety-six Israeli children and adolescents participated in the study; 45 children and adolescents among those who completed questionnaires were interviewed. The data were collected in 2017-2018. The data revealed that negative identification with the show characters was higher among children than in adolescents. Positive identification with the characters was higher among viewers of scary programs, among those who suffered from nightmares and fears, and among those who perceived the characters and plot as realistic. It was found that interest in programs involving tension, drama, and action increases the risk of nightmares and fears after watching these programs.
29
Burton, Alan, e Tom May. "‘Treading on sacred turf’: History, Femininity and the Secret War in the Plays for Today Licking Hitler, The Imitation Game and Rainy Day Women". Journal of British Cinema and Television 19, n. 3 (luglio 2022): 325–59. http://dx.doi.org/10.3366/jbctv.2022.0629.
Abstract (sommario):
The article examines the three single television plays Licking Hitler, The Imitation Game and Rainy Day Women, which were broadcast in the celebrated BBC drama strand Play for Today between 1978 and 1984. Each play was set within the secret war: at a radio station broadcasting black propaganda to Germany, at Bletchley Park, and at the heart of a secret mission to investigate dark doings in remotest Fenland. Similarly, each play dealt substantially with female characters and their troubled experience of wartime Britain. The plays provided a revisionist treatment of the mythology of the Second World War, painting a less cosy picture of the ‘People’s War’, with its supposed egalitarianism, shared sacrifice and vision of the different classes all supposedly ‘pulling together’. The article investigates the changing historiography of the secret war, a process in which the authorities attempted to manage the release of wartime secrets dealing with sabotage, resistance, deception and cryptography, and shows how the three dramas came into being through, and were influenced by, the opening up of the secret archive. Detailed attention to the production of the plays and their reception considers how the three historical dramas related to the Play for Today strand, traditionally celebrated for productions dealing with contemporary social and political issues.
30
Ahıska, Meltem. "Gender and National Fantasy: Early Turkish Radio Drama". New Perspectives on Turkey 22 (2000): 25–60. http://dx.doi.org/10.1017/s0896634600003265.
Abstract (sommario):
Women figure centrally in representations of modernity and of nations. This has caught the attention of researchers both in the West and in the context of “Third World” nationalisms. Yuval-Davis states: ”[I]t is women –not just (?) the bureaucracy and intelligentsia—who reproduce nations, biologically, culturally and symbolically” (1997, p. 2). However, an analysis of “women” as the subjects of the nation differs from a perspective that dwells on the representations of women produced by a (mostly) male elite. Jordanova argues that the Enlightenment in the West was a set of mental and practical activities of the male elite “who gained influence because of their ideas and ‘knowledge’” (1995, p. 64), and whose concern was “to establish the validity of their vision of the world” (p. 64). She shows convincingly that these activities were “sexual” in nature.
31
Dallmann, Antje. "“The air of impossibility has been removed”: Realist Political Drama(dy) and the Trope of Becoming President". American Studies in Scandinavia 52, n. 2 (1 novembre 2020): 101–18. http://dx.doi.org/10.22439/asca.v52i2.6501.
Abstract (sommario):
Over the past ten to fifteen years, film and TV culture have offered new and more complex negotiations of presidential politics through depictions of fictional American presidents. While in the past American popular culture celebrated the president as overwhelmingly positive, larger-than-life figure, recent representations have introduced more complex characters who face, or even trigger, complicated and morally ambiguous conflicts. This article investigates how The West Wing, House of Cards and Veep, three political TV shows, make use of the emerging trope of a brokered nomination convention in order to question one-dimensional fictional representations of the American president and presidential politics.
32
Chimite, Yara Fernanda, e Gustavo Daudt Fischer. "ALGORITMOS INDOMÁVEIS: UMA ANÁLISE SEMIOLINGUÍSTICA DA RELAÇÃO ENTRE FÃS E UMA PLATAFORMA DIGITAL". Revista Prâksis 1 (3 gennaio 2024): 100–125. http://dx.doi.org/10.25112/rpr.v1.3608.
Abstract (sommario):
Este artigo realiza uma análise semiolinguística do relacionamento entre fãs e uma plataforma digital, com enfoque nos discursos envolvidos no processo de atualização da lista de Top Shows da plataforma MyDramaList e as subsequentes reações dos fãs do drama O Indomável, que caiu da primeira para a segunda posição. Tem como objetivo investigar a construção das identidades discursivas tanto da plataforma, com ênfase em seu algoritmo de classificação, quanto do fandom. Toma como base teórica uma articulação entre os Estudos de Plataforma (Van Dijck, 2013; Gillespie, 2015; Helmond, 2015; Van Dijck; Poell; De Waal, 2018), estudos sobre algoritmos (Gillespie, 2018; Beer, 2016; Bucher, 2017), Estudos de Fãs (Fiske, 1992; Stein, 2015; Lamerichs, 2018) e, mais especificamente, fãs nas plataformas digitais (Yin, 2020; Zhang; Negus, 2020), estudos sobre afeto em rede (Paasonen; Hillis; Petit, 2015; Dean, 2015) e a Teoria Semiolinguística (Charaudeau, 2008, 2009, 2013, 2014, 2015). Analisa, com abordagem Qualitativa, os comentários dos fãs na página do drama no MyDramaList, bem como os fragmentos discursivos da plataforma. Os resultados demonstram que a plataforma procura construir uma identidade discursiva de neutralidade, enquanto os fãs interpretam essa identidade de maneiras variáveis, construindo suas próprias identidades de fãs atreladas à plataforma e constituindo a lista de Top Shows como um signo (Ponzio, 2008).
33
Jang, Kyungjae. "Tourism and local identity generated by NHK’s morning drama: The intersection of memory and imagination in Kobe". East Asian Journal of Popular Culture 5, n. 2 (1 agosto 2019): 159–76. http://dx.doi.org/10.1386/eapc_00006_1.
Abstract (sommario):
This article shows how the interplay of local memories, the imagined worlds of media products and tourism can redefine the image of a particular place. Using the concepts of ‘places of memory’ (Nora) and ‘places of the imagination’ (Reijnders), the author analyses how NHK’s morning drama (asadora) Kazamidori (The Weather Vane) (1977–1978) had a significant impact on the development of Kobe’s Kitanochō district. The fusion of local memory and the world imagined in the series has resulted in the foreign settlers’ mansions (so-called Ijinkan) being developed into a tourism resource and declared a national cultural heritage. As the example of Kazamidori shows, certain aspects of local history are accentuated and others deliberately ignored in such processes of heritage building, while both the media and tourism can play an important role in placemaking.
34
Baek, Soyoun. "The Meaning and Limitations of Family in Thirty-nine(2022), a Television Drama". Korean Society of Culture and Convergence 45, n. 12 (31 dicembre 2023): 415–27. http://dx.doi.org/10.33645/cnc.2023.12.45.12.415.
Abstract (sommario):
The purpose of this study is to analyze the aspects, meanings, and limitations of the family in the television drama Thirty, Nine. In Korean society, the framework of “normal family” became a standard for discriminating against the forms of family that did not meet this, but recent changes in social perceptions are reflected in the aspects of family in television dramas. Thirty, Nine presents care and intimacy as the standard of a new family. It is emphasized that the family does not consist solely of blood ties by dealing with the issue of adoption. This work divides the good and bad composition of characters based on their perceptions and attitudes toward the family and omits specific conflict situations. It also distorts the real reality in that commitment to each other is mainly based on strong economic power and time. In addition, the main characters choose marriage based on heterosexual relationships at the end. It deals with the problem of adoption within this typical family structure of parents and children. This shows that various imaginations of the family are not fully realized in television dramas.
35
Pethel, Mary Ellen. "Hoffer, The Caning Of Charles Sumner - Honor, Idealism And The Origins Of The Civil War". Teaching History: A Journal of Methods 36, n. 1 (1 aprile 2011): 54–55. http://dx.doi.org/10.33043/th.36.1.54-55.
Abstract (sommario):
Historical monographs are rarely considered "page turners" despite the work's importance to academia. Williamjames Hull Hoffer has placed a crucial moment in history- the caning of Charles Sumner by Preston Brooks- within the broader significance of the decades preceding the Civil War. Hoffer magnifies the causality and meaning of this cultural and political menagerie. The introduction is written in a way that both lures the reader and shows the subject's importance in big picture terms. He urges the audience to "recapture some of the drama of the past while standing far enough removed.... to examine [it]."
36
LÄMMLE, REBECCA. "PRECARIOUS CHOREIA IN SATYR PLAY". Bulletin of the Institute of Classical Studies 62, n. 2 (1 dicembre 2019): 29–48. http://dx.doi.org/10.1111/2041-5370.12105.
Abstract (sommario):
Abstract Satyr drama is defined by the dominating presence of its eponymous chorus; yet its choreia always appears precarious and problematic. The satyrs sing and dance and are scolded for doing so, or they do not sing and dance and are scolded for not doing so. Even when they are singing and dancing, the satyrs themselves question their own choreia as they lament the impossibility of singing and dancing under current circumstances, share memories of better songs and past dances, or imagine them happening in the future. This paper considers the persistent problematization of choreia in satyr play and the specific uses of satyric choreia as a central element in the poetics of the genre, arguing that these are tied to an unabashedly Dionysiac re-construction of the origins of drama. Finally, a postscript shows how satyr drama’s treatment of choreia translates into the visual sphere on the famous Pronomos Vase.
37
Trębacka, Katarzyna. "Między kamuflażem a stereotypem. Postać Żydówki w dramacie Gabrieli Zapolskiej Nerwowa awantura". Studia Judaica, n. 1 (47) (2021): 153–73. http://dx.doi.org/10.4467/24500100stj.21.006.14608.
Abstract (sommario):
Between Camouflage and Stereotype: The Portrayal of a Jewish Woman in Gabriela Zapolska’s Drama “Nerwowa awantura” [The Nervous Row] The article is an attempt to analyze Gabriela Zapolska’s drama entitled Nerwowa awantura [The Nervous Row], first published in 2012. The aim of the study is to answer the question whether Zapolska, while adding Peruwianka to other figures of Jewish women in her literary output, succumbed to popular opinions and provided her with stereotypical features. Or, on the contrary, perhaps she created her protagonist in an innovative, unprecedented way? The author is trying to answer the question whether the ideas of emancipation and feminist movements, so close to the writer, an attempt to fight the existing patriarchal order and Victorian bourgeois customs, also resonate in Nerwowa awantura. The analysis shows that there are no figures of Jewish women in Zapolska’s oeuvre who are clearly burdened with stereotypical traits or are completely free of them. However, none of the Jewish female characters created by the playwright is so independent, liberated and able to achieve her goals as Peruwianka, and as a result she can be perceived as a new figure on the literary and theatrical map.
38
Ndiaye, Noémie. "Black Roma: Afro-Romani Connections in Early Modern Drama (and Beyond)". Renaissance Quarterly 75, n. 4 (2022): 1266–302. http://dx.doi.org/10.1017/rqx.2022.332.
Abstract (sommario):
This essay brings to light a hitherto unnoticed network of Afro-Romani connections in later seventeenth-century French and English drama, and it construes that network as conceptual and ethical genealogy for the bonds that exist today between Black studies and the fledgling field of critical Romani studies. By close reading Molière's “Les fourberies de Scapin” (1671) and its 1677 adaptation by Edward Ravenscroft, among other objects, through the lens of critical race theory, this essay shows how theatrical culture across the Channel reckoned with the similar positionings of enslaved Roma and sub-Saharan Africans within the logic of early modern white supremacy.
39
Syukri, Muhammad. "Dramatizing Local History “Topekkong Agreement”: Its Effects on Stimulating the Students’ English Performance". ELS Journal on Interdisciplinary Studies in Humanities 1, n. 4 (26 dicembre 2018): 503–18. http://dx.doi.org/10.34050/els-jish.v1i4.4871.
Abstract (sommario):
The teaching of a foreign language, particularly English, is mandatory at the curriculum in Indonesia. This language has an important contribution to the development of science and technology. So, it needs to strategy and development to answer the challenges in there. The current study is how improving the students’ English performance through learning approach by using local history. The research was conducted in the second academic year, particularly 2nd semester with 20 students who enrolled in English speaking ii at Muhammadiyah institution in bone. The mixed method is used to find out the improvement of speaking achievement shows that dramatize with a particular approach such as local history effective to improve the students’ English performance. Furthermore, this research can be expected to recognize one of a pride local culture and encourage strong motivation for learning English as a medium in learning process. Using media drama is expected to draw interest in the learners because it will improve the ability and the achievement in their learning of English.
40
Baumbach, Sibylle. "The Fascination with Crisis and the Crisis of Perception in Contemporary British Drama". Journal of Contemporary Drama in English 8, n. 1 (11 maggio 2020): 47–64. http://dx.doi.org/10.1515/jcde-2020-0005.
Abstract (sommario):
AbstractBased on considerations of the connection between fascination, crisis, and the “Medusa effect,” this paper argues that contemporary drama tends to challenge the audience’s sense of safe spectatorship by stimulating perceptual crises, returning the spectators’ gaze, and exposing their tendencies of (in)attentional blindness. Besides plays by Martin Crimp, Carol Ann Duffy, and Rufus Norris, the analysis focuses on James Graham’s Quiz (2017), which dramatizes one of the most popular scandals in the history of British game shows and challenges the audience’s capacity of moral attention. As I argue, Quiz engages the audience in multi-levelled crises (a crisis of knowledge, a crisis of perception, and a crisis of judgement), which stimulates conceptual blending, tests spectators’ response-ability on an ethical, aesthetic, and political level, and eventually allows them to overcome the perceptual crisis created in the course of the play.
41
Ryan, Salvador. "The Sick Call and the Drama of Extreme Unction in Irish Folklore". Studies in Church History 59 (giugno 2023): 411–32. http://dx.doi.org/10.1017/stc.2023.18.
Abstract (sommario):
This article examines the priest's sick call in Irish folklore. The sick call normally involved the hearing of the dying person's confession; the administration of extreme unction, the last sacrament that a Roman Catholic was expected to receive; and (if possible) the reception of holy communion, viaticum, food for the journey. Drawing from the large body of stories in the Schools’ Collection (gathered in 1937–8), the article shows how the greatest concern in the popular mindset was ensuring that the priest arrived in time to perform his duties. However, all manner of difficulties awaited him in the exercise of this ministry, from diabolical apparitions to the wiles of other humans, including other priests, who purposefully attempted to thwart his path. In this sense, Irish folk tales dramatize the administration of this sacrament into a rite of passage.
42
Chojnowski, Przemysław. "Uwalnianie się od prymatu pamięci albo oswajanie obcości. Tożsamościowe transformacje w "Hamlecie gliwickim" Piotra (Petera) Lachmanna". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (31 dicembre 2022): 305–31. http://dx.doi.org/10.24917/20811853.22.18.
Abstract (sommario):
This paper is an analysis of Hamlet gliwicki [eng. Gliwice Hamlet] (Messel 2008) by the Polish-German writer Peter Lachmann (b. 1935). The article presents the genesis of the drama inspired by the fate of a Wehrmacht soldier lost during the Battle of Stalingrad in January 1942. This is the writer’s father Ewald Lachmann. In addition to the parodic means used in the play, the intertextual links between Gliwice Hamlet and William Shakespeare’s Hamlet are discussed, as well as the topoi of Shakespearean tragedy interwoven with episodes from Lachmann’s biography and events from the history of Gliwice. The figure of Hamlet takes on the role of a mask and functions as a universal archetype behind which the play’s creator himself hides. The bilingualism of Peter – the play’s protagonist – and the overlapping of two identities, Polish and German, are examined in terms of a palimpsest. The analysis shows that Lachmann’s drama is characterised by the lack of a linear course of events and their anchoring in a fluid, liminal space-time. The protagonist’s identity transformations are accompanied by the transformation of his immediate environment, as the German city of Gleiwitz turns into the Polish city of Gliwice.
43
Abou Nohra, Joseph. "Genèse de la dialectique entre entente intercommunautaire et souveraineté au Liban". Social Compass 35, n. 4 (novembre 1988): 441–54. http://dx.doi.org/10.1177/003776868803500402.
Abstract (sommario):
This article traces briefly the history of Lebanon «the natural refuge of the oppressed in the Middle East» where diverse reli gious communities have long lived with common traditions where political belonging took precedence over difference of religion. The rupture of Lebanese unity is analysed from a basis in political quarrels which, from the XIXth century onwards, took on pro gressively a confessional character by being exploited by foreign struggles for influence. For the Author, the drama now lived out by this country shows that all of the confessional crises of the past have found solutions of a confessional character. Today, it would be without a doubt vain to place one's hopes in solutions which are laical or confessional neutral.
44
Girardin, Catherine. "The “Nature of Theatre”: Herder’s Pursuit of a Human Theatre". Modern Drama 66, n. 4 (1 dicembre 2023): 541–60. http://dx.doi.org/10.3138/md-66-4-1258.
Abstract (sommario):
Johann Gottfried Herder is primarily known for his writings on the philosophy of history, linguistics, and theology; his ideas about theatre have been largely overlooked. His interest in the history of various human cultures and his significant influence on the birth of anthropology shaped his unique approach to aesthetics and theatre. This article asks how he understood nature in theatre – more precisely, the possibility of producing a natural theatre during the Enlightenment, an age dominated by the celebration of reason. By examining Herder’s use of terms related to nature in multiple sources that have almost never been investigated – including some of Herder’s manuscripts, fragments, and short texts on theatre – this article shows that there is a link between Herder’s reflections on drama and theatre, nourished by his engagement with various disciplines, especially history, and the theatrical issues that would preoccupy his successors in the centuries to come. Herder’s conception of a natural theatre resonates in particular with Bertolt Brecht’s desire for the stage to represent the human condition as a historical process.
45
Setio, Robert. "Penguasa, Tuhan, dan Rakyat: Membaca Apokalips Daniel 7 sebagai Subversi". GEMA TEOLOGIKA: Jurnal Teologi Kontekstual dan Filsafat Keilahian 4, n. 2 (16 ottobre 2019): 211. http://dx.doi.org/10.21460/gema.2019.42.481.
Abstract (sommario):
Because of its cryptic nature apocalypse Daniel 7 has been interpreted in many ways. Often it is linked to the end of time teachings. This kind of interpretation is problematic. First, while emphasizing the dark side of the prophecy, it fails to capture its main intention which is optimism toward the future. Second, apocalypse contains dualistic ideas, but, they are not supposed to be separated, let alone taking one side over the other. Apocalyptic dualism should be treated as an oscillating, always negotiating positions, tensional but creativecollisions. This article shows a reading of apocalypse that reveals dualism as an integrated entity. It also considers theological consequences of such a reading. While being placed within the world’s history, God is deeply involved in worldly drama which consists of tragedy, as well as, comedy. On the political side, this reading demonstrates that imperial history does not run by itself, but, always prones to subversive movements.
46
Oury Ba, Amadou. "Herder’s Ideas for a Philosophy of Human History (1784-1791), or: the Anthropological De-struction of “Africa”". Konturen 11 (2020): 11–28. http://dx.doi.org/10.5399/uo/konturen.11.0.4796.
Abstract (sommario):
In his work Ideas for a Philosophy of Human History (1784-1791), the preacher and philosopher Johann Gottfried Herder deals critically with the philosophy of Enlightenment, in which he sees the seed of a racial and cultural classification that considers peoples outside Europe as inferior. This centrally included Africa and its inhabitants as represented by German philosophers. Such a way of imagining Africa, widely shared amongst thinkers of the Enlightenment, echoes still today in various representations in the Western media, and could even serve as an explanation of the current migration drama in the Mediterranean. Herder, who was well informed of these representations in his own day, attempted, in Ideas, to deconstruct the then prevalent image of Africa and its peoples, and thereby entered into an intellectual dispute with his philosophical contemporaries, whose position was to reaffirm the supremacy of European culture and soe justify slavery and colonialism. This paper first focuses on Herder’s context, then explains his positions and his work, and shows how his attempt ended in a de-construction of the «Africa» of the Enlightenment.
47
Jakubowska-Krawczyk, Katarzyna. "„Інколи жах і обстріли – історією народження твоєї дитини…” Obraz dziecka w reportażach Jelizawety Honczarowej Десь поруч війна". Studia Ucrainica Varsoviensia 7 (27 novembre 2019): 61–75. http://dx.doi.org/10.5604/01.3001.0013.6012.
Abstract (sommario):
The article analyzes a volume of literary reports by Ê. Gončarova Desʹ poruč vìjna. The texts that the writers come out from under the pen are deeply rooted in the described reality, not only thought out but also lived. Jelizaweta Honcharova writes reports from the war which brutally invaded her life (she comes from Artemivsk herself). In the texts, however, we will not fi nd despair, complaint or grief and pictures of the life of the areas through which the war is swept. The protagonists of the reports Desʹ poruč vìjna are people repeatedly subjected to war. The writer looks at their reactions to the next challenges, the struggle for survival, the safety of his family, and fi nally the normal living conditions. Jelizaweta Honcharova notices their confusion, the doubts on which side of the confl ict should be told. Without pathos and judgment, it shows the drama of political divisions and choices in which the boundary between being a patriot and a traitor is often not sharp clear może. He leans over a drama of broken families, confl icts and despair that break out in them. The author presents a war that kills childhood. It takes your big and smaller dreams away irretrievably. The drama of war presented by the writer takes place on many levels. The most important of them is probably the sphere of family life. War violates the basic tissue of relationships for children. Thanks to the reports of Honcharova, the reader notices the whole range of problems that a young man encounters. The reports are full of pain but also the awareness of the good that happens between people even in such inhuman times. They constitute a kind of testimony of history, designed to protect against possible attempts to manipulate it in the future. Thus, Honcharova gives them supra-regional and timeless dimension.
48
Marjuni, Marjuni Misri, e Adly Rosyad Fudhulul Ulwani. "The Islamic Moral Perspective on Semiotic Analysis of Reyog Art against Children's Drama "Songgolangit Sayemboro"". Islamika Inside: Jurnal Keislaman dan Humaniora 8, n. 1 (8 giugno 2022): 60–84. http://dx.doi.org/10.35719/islamikainside.v8i1.173.
Abstract (sommario):
Abstract: The semiotic interpretation of Reyog as an intangible cultural treasure and a representation of Ponorogo people's historical knowledge is still debatable, especially in light of Reyog Ponorogo's failure to become one of the nominees to be presented to UNESCO in the second week of April 2022. This research explains how a) Reyog Ponorogo as a local culture requires socio-religious values and b) the historical construction of Reyog Ponorogo has strengthened the reality of social change. Child Reog Performance and Drama "Songgolangit Sayemboroo" on December 11, 2021, on the Youtube Channel of the East Java Pavilion, Taman Mini Indonesia Indah was studied (TMII). This qualitative research uses a constructivist method. Roland Barthes' semiotic analysis identifies denotation, connotation, and myth in Child Reog and Songgolangit Sayemboroo. The study found that a. structured denotation relates to valued artwork. Reyog Ponorogo, drums, demung, saron, Peking, trumpet, gong, kempul, bonang, slenthem, gender, xylophone, violin, zither, and angklung are cultural values. The Child Reog Show and Drama "Songgolangit Sayemboroo" are put on because of how history was made to seem. Construction interpretation is a myth that isn't necessarily about mythology. The online presentation shows that the social reconstruction of Ponorogo has lasted a long time in the form of a vernacular building in the Reyog Ponorogo style which requires historical values which are very important for cultural development. Reyog's art and dance performances are part of Ponorogo's history to preserve art, culture, and noble legacy and promote equal rights for women. In a family-run government, human rights breaches and gender inequalities may occur. Reyog mentioned a critical lesson in the Quran Chapter 51 verse 56 and Chapter 4 verse 36 about a wonderful lady's spiritual effort to love God without damaging or hurting others, let alone both parents' hearts.
49
Bottez, Alina. "Religion and Cultural Identity in Shakespeare’s Romeo and Juliet and the Musical Works it Inspired". Messages, Sages and Ages 3, n. 1 (1 agosto 2016): 46–59. http://dx.doi.org/10.1515/msas-2016-0005.
Abstract (sommario):
Abstract Protean Shakespeare thrives not only in the theatre, but also through what Bolter and Grusin call remediation. This article analyses the religious stances in the play and then shows how opera, symphony and musical have been adapting the veteran Elizabethan drama since the 18th century. Its main approach is comparative and relies on the history of mentalities. Adaptation is dictated by cultural context, the conventions of the lyrical theatre, social and political factors, and reception. The confusing religious configuration of Shakespeare’s England is reinterpreted kaleidoscopically. The article demonstrates, for instance, that Berlioz and Gounod reread it according to staunch Catholicism in 19th century France, while Bernstein’s West Side Story moves the action to New York in the mid- 50’s, the Capulets and Montagues are replaced with rival Polish and Puerto Rican gangs and religion with cultural identity.
50
Gracla, Jadwiga. "Między krytycznym teatrem politycznym a teatrem dokumentalnym. Uwagi o spektaklu "Białoruś obrażona"". Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 58, n. 1 (7 giugno 2023): 115–24. http://dx.doi.org/10.36770/bp.775.
Abstract (sommario):
The author refers to the play Insulted Belarus, staged at the Municipal Theater in Gliwice. The drama, which is the basis for the performance of Andrey Kureichik, is a story about the contemporary situation in Belarus, elections, persecution, and dictatorship. In a subtle and sophisticated way, he shows two narratives: those desiring freedom and the dictator. It uses the experience of political theater and modern multimedia techniques. According to the author, the artistic coherence is broken by the last scene – a direct account of the events. However, in the ideological plan, it is the most important and strongest message. The story of people who yearn for freedom.