Letteratura scientifica selezionata sul tema "Male friendship – drama"

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.

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.

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.

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

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.

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.

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.

The worldwide leader in streaming television, Netflix exercises significant influence over what viewers watch through algorithms and the shaping of communities based on a set of culturally determined preferences, or ‘taste communities’. Furthermore, its reputation for producing noteworthy and boundary-pushing original television content creates the expectation that Netflix will follow a similar path in Spain, where viewers represent diverse backgrounds. This essay argues that as a company based in the US creating original shows for broadcast to a global audience, Netflix sidesteps many of the thorny issues surrounding contemporary Spanish national identity and the country’s multicultural ‘ethnoscape’ to focus on genres and storylines that have proved successful on the platform. In this way, the streaming company offers locally produced content that appeals to existing global taste communities. Their made-in-Spain original dramas - Las chicas del cable, La casa de papel and Élite - present common themes such as socio-economic inequality, social mobility and female friendship, and settings that resonate with a local audience while remaining accessible and relevant globally. In this way, Netflix influences how Spain is portrayed to a global audience while maintaining a local presence.

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.

ABSTRACT In this research, the researcher will examine Japanese animated films, Isshuukan Tomodachi. Isshuukan Tomodachi is a film that aired on February 18, 2017. The film was directed by Shousuke Murakami. Actualy, this anime film,taken for manga. The researcher is intrested in this film, because he sees many keys, how tobe a good friend. This research will be exposing the pischological of the main charater, Hase through signs. Those signs would find out the hidden meaning behind the text (myth). The researcher choses Isshuukan Tomodachi to be reseached, because it has excellent story quality and has elements of drama and romance combined nicely, because what is at the heart of the story is the complexity of the human heart itself in accepting the situation within itself, being honest with its own feelings, and the strength of friendship. As the result, many people are very difficult to make friends. The reason is not about arogancy. The results of this research, through the signifier and signified, show that Hase has an id that is not as big as the ego and superego. Hase can suppress the id so as not to get bigger and control himself Hase, which he shows by leaning on Kaori's father. This will be the foundation of analyzing. Key words: anime, film, signs, semiotic, and psychoanalysis ABSTRACT Dalam penelitian ini, peneliti akan meneliti film animasi Jepang, Isshuukan Tomodachi. Isshuukan Tomodachi merupakan film yang tayang pada tanggal 18 Februari 2017. Film ini disutradarai oleh Shousuke Murakami. Sebenarnya, film anime ini diambil untuk manga. Peneliti tertarik pada film ini, karena ia melihat banyak kunci, bagaimana menjadi teman yang baik. Penelitian ini akan mengungkap pischological dari karakter utama Hase melalui tanda-tanda. Tanda-tanda itu akan menemukan makna tersembunyi di balik teks (mitos). Peneliti memilih Isshuukan Tomodachi untuk diteliti, karena memiliki kualitas cerita yang sangat baik dan memiliki unsur drama dan romantisme yang berpadu apik, karena yang menjadi inti cerita adalah kompleksitas hati manusia itu sendiri dalam menerima keadaan yang ada di dalam dirinya. jujur ​​dengan perasaannya sendiri, dan kekuatan persahabatan. Akibatnya banyak orang yang sangat sulit berteman. Alasannya bukan tentang kesombongan. Hasil penelitian ini, melalui marker dan signified, menunjukkan bahwa Hase memiliki id yang tidak sebesar ego dan superego. Hase bisa menekan id agar tidak bertambah besar dan mengontrol dirinya sendiri Hase, yang ditunjukkannya dengan bersandar pada ayah Kaori. Ini akan menjadi dasar analisis.

My thesis argues that textually embedded intimacy and exclusivity between men opens up ethical problems concerning the use of education and persuasive powers—the ability to reconfigure vice as virtue, to argue a case for transgressions, and to navigate political, economic, and social spheres for personal self-advancement. My argument is based first on the proposition that masculine elite friendship in the early modern period is situated in specific pedagogical practices, engagement with particular rhetorical manuals and classical texts, and manipulation of texts which determine the affectionate, ‘textual', nature of these relationships. From this, I propose, second, that a hermeneutic process of rhetorical and poetic composition and exclusionary understanding is embedded within these textual relationships. From these two propositions, I analyse the textual surface of homosocial relationships in order to ask questions about ethical dilemmas concerning the forms of power they represent. How can an enclosed system of affection be useful for political, social, or financial advancement by making a vice (self-interest) of a virtue (fidelity), a dubious idea in the early modern period? How are homosocial networks developed and depicted through an engagement with their own textuality? Are they shown as transgressive and dangerous in further marginalizing those who are not privy to the system of textual exchange between men? The creation of homosocial male friendships is predicated on the idea that there are shared texts and methodologies for internalizing ideas from classical sources (imitatio) and for using these as starting points for the creation of arguments (inventio) to suit social, political, and even domestic situations. I focus on fictitious relationships developed in early modern English drama—as playwrights represent masculine discourse, textual knowledge, and rhetorical techniques. The friendships and fellowships in these dramatic productions contain questions about the use of masculine networks in socio-political and economic navigation.

This thesis examines the intellectual history of male friendship through its articulation in non-Shakespearean early modern drama; and considers how dramatic texts engage with the classical ideals of male friendship. Cicero’s \(De amicitia\) provided the theoretical model for perfect friendship for the early modern period; and this thesis argues for the further relevance of early modern translations of Aristotle’s Nicomachean Ethics, and in particular, Seneca’s De beneficiis, both of which open up meanings of different formulations and practices of friendship. This thesis, then, analyses how dramatists contributed to the discourse of male friendship through representations that expanded the bounds of amity beyond the paradigmatic ‘one soul in two bodies’, into different conceptions of friendship both ideal and otherwise. Through a consideration of selected dramatic works in their early modern cultural contexts, this thesis adds to our understanding of how amicable relations between men were arranged, performed, read and understood in the early modern period.

Abstract In The Drama Tic Literature staged during the early modern period in England, female characters frequently form primary alliances with other women-alliances characterized by friendship, familial duty, socioeconomic dependence, service, the rejection of heterosexuality, and, in some cases, homoerotic desire. Although these alliances are often central to the plays that depict them, they are frequently dissolved in order to bring about heterosexual pairings, that work to limit female autonomy both socially and sexually. Rarely is there an effort by these female characters to resist this heterosexual imperative and acknowledge a space that privileges female alliances outside its purview. The alliances formed by Celia and Rosalind in As You Like It and Maria and Olivia in Twelfth Night are representative of this resistance. Characterized by a combination of female loyalty and socioeconomic dependence, the participants in these relationships support one another in the face of male challenges to female authority, and they rely upon one another to secure their positions within social and economic hierarchies. Whereas Rosalind and Olivia turn away from the security of the female alliance toward relationships with men, Celia and Maria oppose Rosalind’s and Olivia’s interests in heterosexual involvements, revealing that they are thoroughly invested in their friendships and are willing to take extreme measures to maintain them.

This chapter explores the work of Viktor Sokolov, a much-admired director at Lenfilm whose extensive work in genre films (production dramas, sports films, literary adaptations) made him relatively invisible to the critical establishment of his own day and later. Sokolov’s combination of emotional surges and a precise and critical eye for cinematic patterning made him difficult to classify at any time, and never more so than in A Day of Sunshine and Rain (1967), an unusual children’s film that explores the unexpected and fragile friendship of two young boys who have skipped school, but also the nature and purpose of art.