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1
Viktorovich, Vladimir. "Dostoevsky’s Lost Play “Boris Godunov” (Sources, Concept)". Неизвестный Достоевский 11, n. 1 (marzo 2024): 5–43. http://dx.doi.org/10.15393/j10.art.2024.7121.
Testo completoAbstract (sommario):
According to contemporaries, the play “Boris Godunov” was written by Dostoevsky before he began work on the novel “Poor People.” The manuscript of the play is lost. Some assumptions about its composition have been made in the scientific literature, but this article for the first time undertakes a systematic analysis, if possible, of all the alleged sources of the idea, as well as some of its reflections in the writer’s later works. The article examines the situation in Russian historiography and fiction related the coverage of the reign of Boris Godunov and the personality of the tsar himself prior to Dostoevsky’s undertaking of this topic. The key sources for him were the 9 volumes of Karamzin’s “History of the Russian State” and Pushkin’s “Boris Godunov,” which formed the consciousness of the future writer since the times of family readings in his parents’ house. Subsequently, Dostoevsky faced an acute dispute in literature around Karamzin and Pushkin, who declared Godunov guilty of the murder of Tsarevich Dmitry. Their position was supported in the 1830s by the authors of historical dramas V. T. Narezhny, A. S. Khomyakov, and M. E. Lobanov. The historians M. P. Pogodin, N. S. Artsybashev, and A. A. Kraevsky defended Godunov; their point of view was reflected in the dramas of the same Pogodin and G. F. Rosen. F. V. Bulgarin took an ambivalent position in both journalism and prose. Dostoevsky was undoubtedly familiar with Schiller’s printed sketches for the tragedy “Demetrius,” where the figure of Boris Godunov as psychologically complex and ambiguous. The critics of Pushkin’s Boris Godunov N. I. Nadezhdin, N. A. Polevoy, and V. G. Belinsky played a certain role in shaping Dostoevsky’s idea. In “interacting” with them, Dostoevsky obviously developed a new twist in the dramatic plot, which resolved the historians’ dead-end disputes. In his play, which absorbed the dramatic experience of Shakespeare, Racine, Schiller, as well as the historical legends around Alexander I and Napoleon, a version was proposed about Godunov’s indirect guilt in Dmitry’s death and about the hero’s unwavering moral responsibility even for indirect complicity in a crime. This motif was developed in Dostoevsky’s subsequent works, such as “Netochka Nezvanova” (Efimov), “Demons” (Stavrogin), “Brothers Karamazov” (Ivan). It can be stated with a high degree of confidence that the origin of the concept of expanding guilt and responsibility for it occurred in the very first works of the writer — the tragedies “Mary Stuart” and “Boris Godunov.” The author of the article suggests the formation of Dostoevsky’s aesthetics in the context of the development of Russian historical drama.
2
Fletcher, Kami. "Black Women Undertakers of the Early Twentieth Century Were Hidden in Plain Sight". Meridians 22, n. 2 (1 ottobre 2023): 478–502. http://dx.doi.org/10.1215/15366936-10637582.
Testo completoAbstract (sommario):
Abstract This essay foregrounds Black women in the very narrative of undertaking that they helped create and develop. It was the wives who helped start the country’s oldest undertaking firms, and it was the wives, sisters, and daughters who sustained and professionalized the funeral home legacy. The article follows women from the American South and mid-Atlantic regions, illustrating how, with their skills and capital, they labored not just as funeral directresses, embalmers, and undertakers but also as bookkeepers, hairdressers, accountants, caterers. These women were “race women,” college-educated Black women who were trained to uplift the race. And as race women in the death trade, they brought their skills and education to a field that created generational wealth and civic empowerment.
3
Xiaofei, Ren, Li Lanlan, Zhang Chuanrui, Lu Jing e Liu Feng. "Corpus stylistics of drama in drama translation studies". Babel. Revue internationale de la traduction / International Journal of Translation 60, n. 4 (31 dicembre 2014): 425–44. http://dx.doi.org/10.1075/babel.60.4.02xia.
Testo completoAbstract (sommario):
Drama translation studies used to be the most neglected area in translation studies due to its prescriptive approaches and reductionist illusion of polarization of performability and readability. Corpus stylistics of drama, with the aid of computer technology as well as the understanding of the true nature of drama as the dialectical combination of both literary and theatrical characteristics, appears to be a remarkable theoretical framework and methodology for drama translation studies. The study of (im)politeness in Death of a Salesman and its two Chinese versions is undertaken as a case study. ICTCLAS and Concordance 3.0 were used to calculate the high frequent expressions concerning (im)politeness in both the original text and the Chinese versions, followed by the analysis of their stylistic function. It is found that modal particles and slang expressions in Chinese are useful to reconstruct the characterization, plot as well as performability of the translated drama. In conclusion, corpus stylistics of drama is of high feasibility in drama translation studies.
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van Langevelde, F., F. Kiggen, C. van Dooremalen e B. Cornelissen. "Corpse removal increases when honey bee colonies experience high Varroa destructor infestation". Insectes Sociaux 67, n. 4 (novembre 2020): 507–13. http://dx.doi.org/10.1007/s00040-020-00789-y.
Testo completoAbstract (sommario):
AbstractHigh parasite load may increase honey bee mortality, which enhances stimuli for undertaker recruitment in colonies due to the presence of more corpses. However, it is unknown whether colonies exposed to the parasitic mite Varroa destructor (V+ colonies) remove corpses faster compared to colonies with reduced parasite levels (V− colonies). To test this hypothesis, different amounts of dead bees (25 or 100) were added to V+ and V− colonies to increase undertaker’s workload and to monitor the colonies’ undertaking performance (number of corpses removed after fixed time intervals and time until task completion). Until 40 min after adding corpses, V+ colonies had removed more corpses compared to V− colonies, especially when 100 corpses were added. At 100 min after adding the corpses and onwards, the difference between the V+ and V− colonies disappeared. V+ colonies used less time until task completion, especially when challenged to remove 25 corpses. The first efficient undertaking response in V+ colonies may have been caused by more or more experienced undertakers on standby compared to V− colonies, resulting in less total time needed to complete their undertaking task at increased workload. Our study suggests that changes in the division of labour in V+ colonies were not impaired, but we cannot exclude long-term effects for the colony as time spent on undertaking cannot be spent on other tasks. Our study contributes to understanding of social resilience in colonies under high stress and exposed to immediate emergencies.
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Gorbachev, Igor' Nikolaevich. "A game of hide and seek. Dramatic Mechanisms in Chekhov's «The Seagull»". Философия и культура, n. 8 (agosto 2023): 77–101. http://dx.doi.org/10.7256/2454-0757.2023.8.43536.
Testo completoAbstract (sommario):
The analysis of the play "The Seagull" undertaken in the article is based on an unusual assumption. Chekhov's phrase is known that "after writing a story, you should cross out its beginning and end." What if we apply this "formula" to the dramatic works of Anton Pavlovich and assume that when finishing the plays, Chekhov "left out some part of the text"? The analysis of the "Seagull" is performed directly by the classic tool of directors – the method of effective analysis. The work involved a wide range of facts about the social and everyday realities of the Russian Empire of the late XIX - early XX century. The choice of the play "The Seagull" is due to two reasons. Firstly, it is one of Chekhov's most famous and popular dramas. Interest in it has not waned for many decades, neither the audience nor the directors. Secondly, it is believed that the "Seagull" is read inside and out, and working with it is a challenge for the researcher. The analysis of "The Seagull" allows us to state that Chekhov's formula about "crossing out the beginning and the end" of the story is also applicable to his plays. Moreover, this "crossing out" is made taking into account the principles of classical drama. As a result, the reader is faced with the fact that the "Seagull" can be read in at least two – almost opposite in meaning – ways. The results obtained during the analysis, firstly, give grounds to assume that the case of the "Seagull" is not an isolated one, and Chekhov resorted to similar techniques in his other dramas. Secondly, to conclude that the "dramatic mechanism" of The Seagull is not just an attribute of the author's voice, but actually the path of evolution of classical drama proposed by Chekhov.
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Ward, Julie, Helen Frances Mills e Alan Anderson. "Drama in the Dale: Transformation Through Community Drama". Harvard Educational Review 83, n. 1 (26 marzo 2013): 54–61. http://dx.doi.org/10.17763/haer.83.1.k746345q366v0023.
Testo completoAbstract (sommario):
During the winter of 2011-2012, Weardale, England, was the setting for an ambitious informal adult education project. In this rural area in the northeast part of the country, the local arts collective, Jack Drum Arts, established a community play project entitled The Bonny Moorhen. This dramatic undertaking aimed to retell the story of the infamous Battle of Stanhope, a local lead miners’ uprising. The project took place in a converted barn and involved a group of sixty learners of all ages and from all walks of life. The troupe formed the choir, band, backstage crew, and company of actors who, with the support of professional artists, built a temporary theater space. Each member of this collective made a personal journey. Here Helen Mills and Alan Anderson, in association with Julie Ward, cofounder and project producer at Jack Drum Arts, offer their personal testimonies from the project.
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Swaab, Peter. "The Line of Beauty". Film Quarterly 60, n. 3 (2007): 10–15. http://dx.doi.org/10.1525/fq.2007.60.3.10.
Testo completoAbstract (sommario):
ABSTRACT The BBC TV adaptation of Alan Hollinghurst's Booker Prize-winning 2004 novel of Aids and Thatcherism was undertaken by Andrew Davies, best known for his version of Pride and Prejudice. Directed by Saul Dibb, The Line of Beauty's depiction of 1980s London is appropriate to both to its source and costume-drama conventions.
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Harvey, Brian, James Stuart e Tony Swan. "Evaluation of a Drama-in-Education Programme to Increase AIDS Awareness in South African High Schools: A Randomized Community Intervention Trial". International Journal of STD & AIDS 11, n. 2 (febbraio 2000): 105–11. http://dx.doi.org/10.1177/095646240001100207.
Testo completoAbstract (sommario):
A community intervention trial was undertaken in KwaZulu Natal, South Africa to evaluate the effectiveness of a high school drama-in-education programme. Seven pairs of secondary schools were randomized to receive either written information about HIV/AIDS or the drama programme. Questionnaire surveys of knowledge, attitude and behaviour were compared before and 6 months after the interventions. One thousand and eighty students participated in the first survey and 699 in the second. Improvements in knowledge ( P=0.0002) and attitudes ( P<0.00001) about HIV/AIDS were demonstrated in pupils at schools receiving the drama programme when compared to pupils receiving written information alone. These changes were independent of age, gender, school or previous sexual experience. In schools receiving the drama programme, sexually active pupils reported an increase in condom use ( P<0.01). It is important to provide resources to sustain such programmes and to obtain stronger evidence of effect on behaviour by measuring changes in HIV incidence.
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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek Tragedy". New Theatre Quarterly 28, n. 2 (maggio 2012): 163–81. http://dx.doi.org/10.1017/s0266464x12000255.
Testo completoAbstract (sommario):
Chris Vervain is a mask maker who has for a number of years directed masked Greek drama. On the basis of the research she has undertaken using her own masks, in this article she considers some of the practical issues involved in a masked staging of the plays today, drawing specifically on her experience of directing the Bacchae and the Antigone. Here she extends the discussion started previously in ‘Performing Ancient Drama in Mask: the Case of Greek New Comedy’ in NTQ 79 (August 2004). Earlier, with David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001). In 2008 she completed a doctorate on masks in Greek tragedy at Royal Holloway, University of London.
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Anderson, N.-A. "Die identifikasie van generies onderskeidende strategieë in dramatiese kommunikasie: ’n interdlssiplinêre benadering". Literator 19, n. 2 (30 aprile 1998): 73–88. http://dx.doi.org/10.4102/lit.v19i2.523.
Testo completoAbstract (sommario):
The identification of generically distinctive strategies in dramatic communication: an interdisciplinary approach This article is an attempt to demonstrate the identification of text strategies that enhance dramatic function in literature, i.e. strategies that confront the receiver with alternative possibilities of choice. Consequently I investigate, among others, linguistic, judicial and philosophical discourses on explicit argumentation strategies. This investigation is undertaken in order to infer analogous drama strategies with the potential to function implicitly rather than explicitly, as the informativity of literary communication appears to be relative to the degree of the implicitness of strategies employed The strategies identified are thus explained in terms of the logic of a genre model (Strydom 1996) in order to explicate their genre character. As a first step towards testing my conclusions empirically, reading reports of specific drama texts are used.
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MacLean, Sally-Beth. "Drama and ceremony in early modern England: the REED project". Urban History 16 (maggio 1989): 38–46. http://dx.doi.org/10.1017/s0963926800009160.
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In 1976 a medieval and renaissance theatre history project was launched under the masthead Records of Early English Drama (now more familiarly known as REED). The official launch had taken two years of planning by scholars from Britain, Canada and the United States, and was given assurance for the future through a ten-year major Editorial Grant from the Canada Council. REED's stated goal – then as now – was to find, transcribe and publish evidence of dramatic, ceremonial and musical activity in Great Britain before the theatres were closed in 1642. The systematic survey undertaken would make available for analysis records relating to the evolution of English theatre from its origins in minstrelsy, through the flowering of drama in the renaissance, to the suppression first of local and then of professional entertainment under the Puritans.
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Kutrzeba, Kacper. "Sen srebrny Salomei, czyli fantazmat kolonializmu". Konteksty Kultury 20, n. 3 (2023): 239–55. http://dx.doi.org/10.4467/23531991kk.23.023.18826.
Testo completoAbstract (sommario):
Sen srebrny Salomei, or a Phantasm of Colonialism The goal of this paper is to offer an interpretation of Sen srebrny Salomei from perspective of the colonial problems embodied in the text. In my reading, Słowacki’s drama is an example of “phantasmatic colonialism”. My explanation for this phenomena is tied with my reading of Stanisław Brzozowski’s late works. In my opinion, Sen srebrny Salomei should be understood as a drama about an impossible dream of Poland undertaking the colonial endeavour.
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Wang, Yiou, Xiuqing Qiao e Shusheng Ma. "The opportunities and challenges of drama in education in Chinese kindergartens". Applied Theatre Research 10, n. 2 (1 dicembre 2022): 187–204. http://dx.doi.org/10.1386/atr_00070_1.
Testo completoAbstract (sommario):
With the introduction of drama in education and creative drama in China in the late twentieth century, drama in education has become a new practice and research hotspot in the field of education. However, children’s theatre performance and dramatic acting training have for a long time been the main form of Chinese preschool drama education and still have a noticeable impact. In this article, we explore how drama in education can improve and expand Chinese kindergarten teachers’ teaching repertoire and how it can contribute to children’s interpersonal development. This design-based study uses interventions in the form of drama in education workshops in a Chinese kindergarten. By undertaking these workshops, observing workshop participants and interviewing teachers and children, we have found that drama in education supports children’s language learning and helps develop their individual self-awareness. In addition, it also provides multiple new methods of teaching and thus promotes teachers’ individual growth as professionals in the kindergarten classroom. In terms of kindergarten curriculum reform, this study aims to contribute to the current developments and debates about teaching, learning and overall education.
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Bora, Simona Floare. "Exploring learners’ perceptions towards collaborative work through drama in foreign language learning: A view from a mandatory Italian high-school curriculum". Scenario: A Journal for Performative Teaching, Learning, Research XIII, n. 2 (10 dicembre 2019): 171–86. http://dx.doi.org/10.33178/scenario.13.2.11.
Testo completoAbstract (sommario):
This article focuses on learners’ perceptions related to the collaborative work through a drama project undertaken as part of a rather rigid high-school mandatory curriculum. The project aimed to offer a dynamic and safe learning environment in which learners could acquire language in an interactive and collaborative way and to help the learners to develop their oral skills and increase their motivation towards learning a foreign language. A class of final year Italian students (n=10) with a level of language ranging from low intermediate to upper intermediate took part in the drama classes which were implemented longitudinally over two academic terms (20 weeks): self-standing play excerpts combined with drama games in the second term followed by a full-scale performance of a single play in the third term. Data were collected through a semi-structured questionnaire, follow-up interviews and researcher’s field notes. Findings revealed that learners perceived that collaboration and interaction through drama were important elements for promoting a positive attitude towards learning a foreign language and their oral production despite the challenges that a full-scale production may pose when subjected to the various constraints of time and the syllabus requirements of a compulsory curriculum.
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ZHANG, Mei. "The Research on the Role Status of China’s Software Service Outsourcing Based on the Partnership of Service Outsourcing Networks". Do Business and Trade Facilitation Journal 2, n. 1 (31 marzo 2022): 1–19. http://dx.doi.org/10.6914/dbtf.020101.
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China has been greatly engaging in global outsourcing services. Despite the increase in global outsourcing services industry, yet the service trade is in deficit and the export trades in service mainly concentrate on the travel, transportation and other business service, both of which indi-cate the comparatively low competitiveness of Chinese service in the world. The nature of partnerships involved between China’s service business undertakers and their overseas clients have not received adequate attention in the scholarly literature. The study analyzed three possible types of outsourcing networks partnership which include tactical, strategic and transformational partnership. Based on software development “waterfall model”, the network role status in undertaking outsourcing service of China are explained and the analysis results show that the tactical partnership plays a key role on the value chain of China’s software outsourcing in the global networks. It is concluded that China’s low value chain in software outsourcing networks is determined by the tactical partnership. Some suggestions on how to improve China’s software outsourcing industry include culti-vating the leading enterprises, building up an intermediary organization, enlarging the clustering effect in industrial park and taking advantage of the Belt and Road Initiative market and Japanese market.
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Woźniak, Katarzyna. "Pirandello jako widz zawodowy". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (12 ottobre 2018): 126–34. http://dx.doi.org/10.24917/20811853.17.11.
Testo completoAbstract (sommario):
Pirandello as professional spectatorAbstractLuigio Pirandello’s drama were unfailingly popular with Polish directors between the beginningof the 1960s until the 1970s. Native creators have undertaken dramas from differentperiods of the Nobelist’s output and covering various topics – bourgeois comedy to metatheatricalworks. Most probably those do not include all that were staged then.It appears that an increased interest in the author is to be connected with the 25th anniversaryof his death, as is suggested by Mieczysław Brahmer in the 1961 Tak jest, jak się państwu zdaje(directed by Zofia Wiercińska).The fact that both then and now critics and researchers in the majority of cases assumed, notnecessarily consciously, they are writing about an artist that is mainly a writer and only thena critic of stage productions of his dramas and a stage producer for his own texts is significant.As a consequence they focused mainly on deconstructing the “pirandellism” condemned byBrahmer, in particular on its canonical interpretation by Adrian Tilgher. Therefore, the followingquestion comes to mind: what kind of interpretations are possible when Pirandello’sworks (especially the first part of the so-called trilogy of “theatre in a theatre” which consistsof Six Characters in Search of an Author, Each In His Own Way and Tonight We Improvise) areconsidered from the perspective of purpose, that is individual theatrical activity of Pirandelloas a co-founder, principal and stage producer of Teatro D’Arte in Rome (in operation between1924 and 1928). The present article attempts at showing the possible direction of a search foran answer to said question with the starting point being the 1962 production of Sześć postaciscenicznych w poszukiwaniu autora (Six Characters in Search of an Author) directed by MariaWiercińska in Stefan Jaracz Theatre in Łódź.Keywords: Pirandello in Poland, Maria Wiercińska, first theatre directors in Italy
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جعفر جواد, ايناس, e ميسون طاهر محي. "The Suicidal Vision Towards Autonomy in Marsha Norman's ‘Night, Mother’". Al-Adab Journal 1, n. 124 (15 settembre 2018): 1–16. http://dx.doi.org/10.31973/aj.v1i124.110.
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A new vision has been created in the 1980s' drama to overcome the sense of entrapment that the modern man feels in the attempts to keep his/her will and free choice liberated from severe confiscation Though considered as a possibly negative vision, suicide started to be seen as to hand man the sense of control that is aspired at least over the end of one's life. A further control was well reflected by the female figures in the late 20th century drama as it appeared in Marsha Norman’s ‘Night, Mother' (1985).
This study traces the suicidal vision undertaken by a 40-year-old lady whose identity and sense of selfhood has been long confiscated by her mother and her whole universe. She tries to revive a romantic vision, rooted much in her strong tie with her dead father, in an attempt to reunite herself to her autonomous entity.
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Alatawi, Maha. "When Narrative Becomes Theatrical". Harold Pinter Review 5, n. 1 (1 maggio 2021): 107–20. http://dx.doi.org/10.5325/haropintrevi.5.2021.0107.
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ABSTRACT Storytelling is an integral component of Irish tradition, folklore, and culture. Ireland's rich narrative tradition can be traced back to the early oral act of storytelling, undertaken by the seanchaí (storyteller or historian). Despite the wide spectrum of studies and broadly ranging arguments on storytelling in general and other specific aspects, in Irish drama narrative and the monologue, as well as narrative levels and types of narrators, have never been analyzed. In narratological terms Irish drama is rich with various degrees of diegetic narrativity employed differently by its various playwrights. This article looks more closely into a subject that until now has not received attention in the context of Irish theatre. In Irish theatre, in which language, narrative, and storytelling are recurrent topics, it is crucial that we understand how narrative is more complicated than the simple telling of a story and that it possesses techniques and levels that are worth reflecting on for their ability to change nuance and the experience of the audience.
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Mangione, Daniela Angela, Paulette Luff e Mallika Kanyal. "Towards a New Pedagogy of Grandparenting: Proposing a Participatory Project". Rivista Italiana di Educazione Familiare 22, n. 1 (31 luglio 2023): 17–28. http://dx.doi.org/10.36253/rief-14460.
Testo completoAbstract (sommario):
Grandparents often influence their grandchildren’s lives, with opportunities for mutual learning. Despite interdisciplinary research on grandparenting, little research is undertaken with grandparents. Inspired by relational pedagogy, participatory research and transformative learning, we propose an arts-based project with grandparents as co-researchers. Grandparents may engage in two forms of Working Group: in a drama learning space and/or in visual and language-based activities. In these Working Groups, grandparents will reflect upon their roles. A Research Group of grandparents will work with researchers to analyse data from the workshops and disseminate findings. We anticipate co-creation of new understandings of contemporary grandparenting.
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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek New Comedy". New Theatre Quarterly 20, n. 3 (agosto 2004): 245–64. http://dx.doi.org/10.1017/s0266464x04000144.
Testo completoAbstract (sommario):
Chris Vervain is a mask maker who has for a number of years trained and directed in performing masked drama. On the basis of research she has undertaken, using her own masks, on how to perform the ancient Greek plays, in this article she questions some of the modern orthodoxies of masked theatre, drawing specifically on her experience with Menander's New Comedy. With David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001) and, with Richard Williams, ‘Masks for Menander: Imaging and Imagining Greek Comedy’ to Digital Creativity, X, No. 3 (1999). Some of her masks can be seen at www.chrisvervain.btinternet.com. She is currently working towards a doctorate on masks in Greek tragedy at Royal Holloway, University of London.
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Strashkova, Olga. "Existential Dialogue Home / Away in Modern Post-postmodern Drama". Бюллетень Калмыцкого научного центра Российской академии наук, n. 1 (15 maggio 2024): 162–77. http://dx.doi.org/10.22162/2587-6503-2024-1-29-162-177.
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The purpose of the undertaken research is to trace the various semantic relationships between the objective world of the House, with its protective function of “amulet”, and the Home as an objective reality. As a result of the textual analysis of V. I. Kalitvyansky’s plays “The Carrier”, V. V. Sigarev’s “Ladybugs Return to Earth”, E. A. Gremina’s “Sakhalin Wife”, the semantics of the existential dialogue of the inner and outer material world in various paradigms are revealed. So, the material world of the House in the play by V. I. Kalitvyansky demonstrates fidelity to the ideological guidelines developed by the House, making up a political dialogue of like-minded people; the dialogue between the House and the House in Sigarev’s drama merged into an emotional monologue of cemetery signs of death; in E. A. Gremina’s play, the existential dialogue House / House is based on an outright antithesis of worldviews, but not hostile, but reconciling a person with the environment and fate. Thus, the material world in the plays of postmodernists embodies the dialogical space of their semantic and emotional codes.
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Nunes, Joyce Mazza, Eliany Nazaré Oliveira, Soleane Mazza Nunes Bezerra, Patrícia Neyva Pinheiro da Costa e Neiva Francenely Cunha Vieira. "Educational practice with women in the community: prevention of pregnancy in adolescence". Texto & Contexto - Enfermagem 23, n. 3 (settembre 2014): 791–98. http://dx.doi.org/10.1590/0104-070720140004500013.
Testo completoAbstract (sommario):
In educational practice in health, the subjects' knowledges and contexts are valued, supporting necessary changes. This study aims to report the experience of educational practices undertaken with 11 women of a community in Fortaleza, in the Brazilian state of Ceará, using Community-Based Participatory Research to investigate, identify and study the health problems which are important for that community. The participants showed that the prevention of pregnancy in adolescence was a priority in the community. Thus, the causes of this occurrence were reflected upon and analyzed, and actions which could reduce this were planned and undertaken. A film was made for adolescents, focusing on pregnancy in adolescence, demonstrating the dramas and difficulties experienced by the adolescents and their families. The study shows the potential which groups have for community mobilization and confrontation of the problems, as, when involved in the educational processes, they are able to provoke individual and collective changes, increase their autonomy and exercise their citizenship.
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Britaeva, Angela Borisovna. "Nart epic in Ossetian children’s drama: Specificity of inter-genre interaction". Philology. Issues of Theory and Practice 16, n. 12 (25 dicembre 2023): 4371–76. http://dx.doi.org/10.30853/phil20230663.
Testo completoAbstract (sommario):
The paper studies Nart epic motifs in Ossetian children’s drama. The aim of the research is to identify the features of inter-genre synthesis in the plays of Ossetian authors written for children. The scientific novelty of the paper lies in the fact that Ossetian children’s drama has become the subject of scholarly reflection for the first time. The following works were introduced into scientific use: ‘Фын’ (‘Dream’, 1994) by R. Khubetsova, ‘Сырдоны хинтæ’ (‘Syrdon’s Machinations’, 1997) by T. Kokaev, ‘Гæдыныхæстæй асин’ (‘The Creation of the Creator’, 2005) by R. Ramonova. The research findings show that plays for children written at the turn of the 20th and 21st centuries have significantly departed from the traditions laid down in the early and mid-20th century, when such plays were primarily represented by adaptations of folk tales or works in which the ideological component came to the fore (e.g., works about the life of the Pioneer movement members). Modern drama works addressed to the younger generation are characterized by a synthesis of genres, which contributes to the blurring of their strict canons, boundaries, as well as the expansion of the authors’ creative potential and ultimately leads to the generation of new literary forms. The data of the undertaken research were previously presented at a conference dedicated to the problems of the Nart epic (7th International Scientific Conference ‘Nart studies in the XXI century: Modern paradigms and interpretations’ (Vladikavkaz, October 26-27, 2023)).
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Setiyadi, Alif Cahya, Nurul Hidayah, Muhammad Wahyudi e Marheni Br Maha. "Bī'ah Lughawiyah Programs in Arabic Language Learning to Improve Student's Arabic Speaking Skills". Ta'lim al-'Arabiyyah: Jurnal Pendidikan Bahasa Arab & Kebahasaaraban 7, n. 1 (1 giugno 2023): 29–46. http://dx.doi.org/10.15575/jpba.v7i1.24173.
Testo completoAbstract (sommario):
This research aims at describing the language program based on bī'ah lughawiyah as an Arabic-language medium in improving the ability of Arabic speaking skills (mahārah kalām) undertaken by PUSDIKLAT UNIDA Gontor at the Pesantren Tahfizhul Qur'an SahabatQu, Deresan, Yogyakarta. The main research problem is related to the strategy undertaken by PUSDIKLAT UNIDA Gontor in developing the Arabic language environment. To answer this research question, the method used is descriptive qualitative. Research data sources are the Pesantren manager and students at the Pesantren Tahfizhul Qur'an SahabatQu, Deresan, Yogyakarta. The research used several data collection techniques, interviews, observation, and documentation. Data analysis techniques in qualitative research systematically track and organize field notes obtained from interviews, observations, and other materials so that researchers can report research results. The results showed that PUSDIKLAT UNIDA Gontor had done some strategies in developing the Arabic language environment. The activities of the bī’ah lughawiyah including ilqā' al mufradāts (giving Arabic vocabulary), musyāhadah (watching), language games, Arabic speech, taqdīm al qishah (Arabic drama), Arabic poetry, master of ceremony (MC) Arabic, and muhādatsah. These programs improved the speaking ability of most female students in the Pesantren Tahfizhul Qur'an SahabatQu, Deresan, Yogyakarta, precisely in utilizing Arabic as the daily communication medium and eliminating the rigidity of learners in expressing the contents of their minds.
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Baikadi, Alok, Jonathan Rowe, Bradford Mott e James Lester. "Toward Narrative Schema-Based Goal Recognition Models for Interactive Narrative Environments". Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, n. 2 (30 giugno 2021): 2–7. http://dx.doi.org/10.1609/aiide.v8i2.12534.
Testo completoAbstract (sommario):
Computational models for goal recognition hold great promise for enhancing the capabilities of drama managers and director agents for interactive narratives. The problem of goal recognition, and its more general form, plan recognition, have been the subjects of extensive investigation in the AI community. However, relatively little effort has been undertaken to examine goal recognition in interactive narrative. In this paper, we propose a research agenda to improve the accuracy of goal recognition models for interactive narratives using explicit representations of narrative structure inspired by the natural language processing community. We describe a particular category of narrative representations, narrative schemas, that we anticipate will effectively capture patterns of player behavior in interactive narratives and improve the accuracy of goal recognition models.
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Bank, Rosemarie K. "Theatre, Culture and Temperance Reform in Nineteenth-Century America. By John W. Frick. New York: Cambridge University Press, 2003; pp. 225 + illus. $70 cloth." Theatre Survey 45, n. 2 (novembre 2004): 288–90. http://dx.doi.org/10.1017/s0040557404250268.
Testo completoAbstract (sommario):
From its beginning, John W. Frick's Theatre, Culture and Temperance Reform in Nineteenth-Century America does the work of overhauling the received tradition with respect to melodrama, progressivism, the temperance movement, and social and moral reform in nineteenth-century American theatre. Frick's thesis is that “nineteenth-century temperance drama was born of the intersection of temperance motives and ideology with progressive trends in literature and the arts” (13). Though his definition of progressivism is (I think, too) broad, Theatre, Culture and Temperance Reform is neither a survey of temperance plays (readers are referred to two dissertations that have undertaken this work) nor a survey of progressive trends. Rather, it seeks to illustrate “stages or facets of temperance ideology and/or production” (16).
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Kharkovskaya, A. A., e L. M. Leonovich. "Deregulation factors of business communicative norms in modern English drama texts". Professional Discourse & Communication 2, n. 4 (24 dicembre 2020): 10–27. http://dx.doi.org/10.24833/2687-0126-2020-2-4-10-27.
Testo completoAbstract (sommario):
This article aims at the analysis of the linguistic and paralinguistic aspects of business communicative models in the plays by modern English speaking playwrights. The main methods of the undertaken study are those of functional-linguistic and linguosynergetic analysis. Due to the dialogue structure of plays, the examples of personages’ business interactions could be taken as robust empirical material for business discourse studies and observations of the factors which cause deregulation of business communication and its pragmatic norms. During business-related verbal interaction interlocutors follow strict rules and norms of English business discourse to achieve their communicative goals. However, even the most regulated speech behavior could be affected by functional and stylistic fluctuations due to unpredictability of extralinguistic factors. Analysis of extensive empirical material proves that the functional framework of business communicative norms in personages’ speech behavior is regulated by the speaker’s personality, psychology and emotional state, background knowledge as well as multiple elements of the external environment of the discursive functional system. The communicative strategies of drama characters are reflected in their choice of linguistic and paralinguistic methods of pragmatic impact on the interlocutor’s mind.
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Zibrak, Arielle. "The Progressive Era’s New Optimists". American Literary History 32, n. 2 (2020): 376–84. http://dx.doi.org/10.1093/alh/ajaa001.
Testo completoAbstract (sommario):
Abstract New scholarship in the literature and print culture of the Progressive Era emphasizes the socially and politically transformative power of aesthetic experience. Through their attention to the physical as well as ideological spaces in which the dual projects of political reform and cultural formation via textual production and consumption were carried out, these scholars offer an account of Progressive-Era aesthetic products ranging from fiction to journalism to comics to productions of Elizabethan drama as democratic sites of social good. While previous criticism of the era’s literature aligned its ideological orientation with the regressive politics of nativism and rising class divisions, these scholars, through both recovery and rereading, take a more optimistic approach that emphasizes the reciprocal nature of the textual engagement undertaken by immigrants and the working class.
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Gkiatas, G., I. Kasapidis, P. Koutalakis, V. Iakovoglou, A. Savvopoulou, I. Germantzidis e G. N. Zaimes. "Enhancing urban and sub-urban riparian areas through ecosystem services and ecotourism activities". Water Supply 21, n. 6 (16 aprile 2021): 2974–88. http://dx.doi.org/10.2166/ws.2021.114.
Testo completoAbstract (sommario):
Abstract Riparian ecosystems in urban environments are usually degraded. Their sustainable management can reduce water pollution, mitigate climate change while providing recreation opportunities. This study assessed the current condition of the streams/torrents and their riparian areas in the city of Drama in Greece. In addition, practices to improve their functionality and enhance community awareness were recommended. A spatial database of the wider urban setting including suburbs and rural areas (weather, land cover, soils, roads, protected areas, riparian areas, etc.) was developed within GIS. The datasets were then inputted in a hydrologic model to simulate the water balance and stream discharge in the main urban streams and torrents. Field measurements of stream water discharge, and vegetation and stream channel conditions were undertaken using two visual protocols. The results of the protocols indicate that most streams/torrents and their riparian areas are of low ecological quality. Nature-based solutions were recommended to improve their ecological quality. In addition, the implementation of Eco-Routes was recommended to enhance the awareness of their importance and to promote their sustainable management. Overall, the urban streams/torrents and riparian ecosystems of Drama are degraded and innovative management practices should be implemented to conserve them and feature their ecosystem services.
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Ziółkowski, Grzegorz. "The Second Coming in the Wicked House: Pablo Larraín’s "El Club" (2015)". Załącznik Kulturoznawczy, n. 9 (2022): 759–80. http://dx.doi.org/10.21697/zk.2022.9.38.
Testo completoAbstract (sommario):
The article explores the 2015 Chilean drama film El Club, director Pablo Larraín’s investigation of the efforts undertaken by the Roman Catholic Church to conceal the abuses and crimes perpetrated by its officials. It also interrogates the sociopolitical context of the production, defined by the culture of impunity cultivated by Chile’s conservative establishment. The text presents an in-depth examination of the film’s plot, conceived as the primary conduit for meaning, and emphasizes the picture’s artistic dimension. It also offers an interpretation of the film that sees it as a manifestation of Pope Francis’ appeal to see Christ in the faces of the victims of the clergy’s sexual transgressions. Ultimately, the film harmonizes with the choir of voices which demand reexamination of the modern Catholic praxis, including the misuse of sacraments such as confession and absolution and, more generally, the virtue of mercy.
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Halliday, Sallyann. "Television representations and professional femininities: The case of the UK police". Northern Lights: Film & Media Studies Yearbook 20, n. 1 (1 giugno 2022): 67–82. http://dx.doi.org/10.1386/nl_00032_1.
Testo completoAbstract (sommario):
This article explores female occupational identity construction by looking at the issue of media representations of women’s police work in the United Kingdom. The example, television representation, discussed here, is the character of Sergeant Catherine Cawood in Happy Valley, a UK police drama written by a UK-based playwright, Sally Wainwright. As the lead character in Happy Valley, Sergeant Catherine Cawood’s on-screen portrayal will be the focus of the discussion in this article. Building on findings from previous research undertaken by the author, which explored how gendered identities of women police professionals are represented in the media, this article argues that television representations of UK female police work portray a particular form of professional femininity, one which I argue is still highly ‘gendered’, mainly because such representation of women’s police work relies on narratives centred on the effective and competent use of ‘emotional labour’.
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Chansky, Dorothy. "American Higher Education and Dramatic Literature in(to) English". Theatre Survey 54, n. 3 (29 agosto 2013): 419–38. http://dx.doi.org/10.1017/s0040557413000288.
Testo completoAbstract (sommario):
In 2011 and 2012, I undertook a two-part survey to answer some large questions about the use of plays in translation in the higher education drama classroom in Anglophone North America and to test my ideas regarding the simultaneous ubiquity and invisibility of translation there. My project here is to report on that survey and to make clear why translation studies is ready to take a prominent role in theatre studies. U.S. colleges and universities constitute one of the largest single markets in the world for drama translated into English. Most U.S. theatre history classes include plays from the world canon, and many specialized classes in theatre departments focus on plays from non-Anglophone cultures. In English departments, where other genres in translation (e.g., the novel) may be approached with caution, drama seems to be offered a “pass” because the notion of being dramaturgically literate depends on some knowledge of a sizable canon of non-Anglophone plays. Yet despite its ubiquity, translation is often so normalized as to be invisible to those who depend on it. As Laurence Senelick notes, “For most students, a work exists wholly in its translated form, spontaneously generated.” Translation, as the survey confirmed, is part of the DNA of theatre studies. As such, I argue, it needs to be brought to the foreground of the field. In saying this, I am not unaware of the rich work undertaken by scholars, editors, and practitioners who are enmeshed in the difficult issues involved with translating plays, which include pressing for greater attention to cultural sensitivity and literacy. My focus here is on the academy and the classroom, where, for better or worse, the vast majority of future dramaturgs and audience members will cut their teeth on a critical mass of plays and where no single language or production entity or publisher can claim pride of place.
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Sutherland, Lucie. "‘The Power of Attraction’: the Staging of Wilde and his Contemporaries at the St James's Theatre, 1892–1895". New Theatre Quarterly 31, n. 1 (30 gennaio 2015): 33–48. http://dx.doi.org/10.1017/s0266464x15000044.
Testo completoAbstract (sommario):
The actor-manager system remained pivotal to West End production throughout the later nineteenth century. Focusing on one actor-manager, George Alexander, and using records of his expenditure on productions during the early 1890s, Lucie Sutherland demonstrates how financial data can be used to examine evolving relationships between industry leaders and dramatic authors in this era. She argues that this kind of evidence demonstrates not only the fiscal dimension to such relationships – level of investment per production, percentage of royalties paid – but also that the data may be analyzed to ascertain the responsiveness of an actor-manager to income generated. Here, significant attention is paid to box-office revenue and expenditure for the first productions of Lady Windermere's Fan and The Importance of Being Earnest, exploring the income Alexander achieved by staging Wilde's drama prior to the arrest and trials of 1895. The use of quantitative data allows for close scrutiny of the work undertaken by prominent figures in the professional theatre; familiar narratives can be contested and endorsed through engagement with this type of material. Lucie Sutherland is a Teaching Associate in Drama and Performance at the University of Nottingham. She has written on aspects of nineteenth- and twentieth-century British theatre, including regional performance cultures and the impact of increasing professional regulation (for example the emergence of an actors' union) upon commercial theatre. She is currently completing a critical biography of Alexander.
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Putri, Intan Listyaning, Andayani Andayani e Nugraheni Eko Wardani. "Social Criticism and Morality in "Subversif!" Drama by Faiza Mardzoeki as Literature Teaching Materials". Journal of Languages and Language Teaching 12, n. 1 (9 gennaio 2024): 487. http://dx.doi.org/10.33394/jollt.v12i1.8828.
Testo completoAbstract (sommario):
The overarching goal of education extends beyond the mere attainment of competencies and academic standards; it encompasses a broader responsibility to cultivate students' awareness of their societal roles, obligations, and rights. This research, undertaken with the specific focus on the drama script "Subversive!" by Faiza Mardzoeki, aims to elucidate the manifestations of social criticism and morality within this literary work. Employing a qualitative research approach, this study hinges on document analysis as its primary methodological framework. Qualitative research, distinguished by its departure from statistical procedures and quantitative calculations, relies on the exploration of assumptions, broad perspectives, theoretical lenses, and a thorough examination of research problems. The research findings primarily unveil instances of social criticism embedded in political contexts and discernible moral dynamics between individuals. Notably, these insights derived from the drama script "Subversive!" serve as valuable material for the pedagogical realm, contributing to the understanding of literary texts in educational settings. This research contends that the implications of its findings extend to the realm of high school literature education, providing a foundation for educators to consider various aspects, types, and impacts of literary works. By delving into the social and moral criticisms encapsulated within these texts, educators can enhance the learning experience, prompting thoughtful reflection on societal constructs and the multifaceted roles literature plays. Additionally, the research underscores the pivotal role of teachers in facilitating this process, thereby emphasizing the broader educational significance of integrating critical perspectives into the study of literature.
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Stevenson, Laura, Farooq Khan, Qusai Bharmal, Opeyemi Odejimi, Sheliza Samnani e Polly Wright. "The use of drama and theatre in enhancing communication skills of psychiatry trainees: a pilot study". BJPsych Open 7, S1 (giugno 2021): S158—S159. http://dx.doi.org/10.1192/bjo.2021.441.
Testo completoAbstract (sommario):
AimsVarious methods have been employed in the development of communication skills. This pilot study was designed to assess the acceptability, feasibility and cost-effectiveness of a specially designed workshop exploring the use of drama and theatre in enhancing the self-reported communication skills of psychiatry trainees. As a secondary aim, it assessed if the value of the improvements translated both into clinical practice and to training situations, including success in the Royal College of Psychiatrists (RCPsych) Clinical Assessment of Skills and Competencies (CASC) examination.MethodA three-day drama and theatre workshop was organised in the West Midlands Deanery in conjunction with specialist instructors from performing arts at the Hearth Centre, Birmingham. The Tension State technique developed by Jacques Lecoq and Forum Theatre approach, were some of the methods employed to enable participants to develop the softer, but essential communication skills required for effective practice. Work was also undertaken focussing on self-regulation. Fourteen trainees completed the first day of the workshop. This pilot study utilised a mixed methodology to evaluate participants’ views of the perceived impact of using drama and theatre to enhance their communication skills. Feedback was obtained from organisers and facilitators specifically relating to feasibility and cost effectiveness. Data were collected from participants using pre and post-workshop questionnaires and focus groups.ResultAll participants reported a positive and enjoyable experience, indicating that the approach was acceptable to those involved. The facilitators deemed this more novel approach to enhancing communication skills feasible, and cost effective and concluded that there was scope to incorporate it into routine psychiatry training in the area. It was however identified that the content of the workshop could be condensed, reducing the length therefore to two days. There was a notable increase in participants’ self-reported confidence in their communication skills post compared to pre-workshop. Trainees reported utilising the techniques in day-to-day practice. All of those participants who undertook the CASC examination during the workshop were successful, although it would be too presumptive to assume a causative effect. The workshop was completed without any adverse events and there were no concerns from a safety perspective.ConclusionDrama and theatre, as a novel approach, appears to have noticeable benefits in enhancing the communication skills of psychiatry trainees. The success of this pilot study in demonstrating acceptability, feasibility and cost effectiveness, suggests that drama and theatre techniques could be easily incorporated into psychiatry training and potentially other medical education programmes.
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Wood, Matthew. "Lessons from The Wire: Epistemological Reflections on the Practice of Sociological Research". Sociological Review 62, n. 4 (novembre 2014): 742–59. http://dx.doi.org/10.1111/1467-954x.12157.
Testo completoAbstract (sommario):
Recent debates and controversies have highlighted several issues surrounding sociological research, which relate to the general conditions under which it is undertaken and how this is changing. There is a pressing need to respond to these issues as a whole, in particular by examining what they tell us about research practices. This article argues that a consideration of themes raised by the American television drama The Wire is useful for facilitating such a response, since it may be read as a discussion of working conditions within neoliberal societies. The following themes are pertinent here: the need to reflect upon the terms by which research is framed by funders, to take adequate time to conduct and complete research, and to encourage critical debate within research. Whilst these relate to influential epistemological discussions by Pierre Bourdieu and Michael Burawoy, this reading of The Wire is particularly helpful for highlighting the practical and inter-relational situations in which sociological research is carried out but which tend not to receive the systematic attention they deserve.
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Seo, Kyoko, e Marilyn McMeniman. "Listening strategies used by adult learners of Japanese to comprehend satellite television programs". Issues in the Teaching and Learning of Japanese 15 (1 gennaio 1998): 139–54. http://dx.doi.org/10.1075/aralss.15.09seo.
Testo completoAbstract (sommario):
Abstract This paper identifies listening comprehension strategies from the perspective of cognitive psychology, with a focus on the experience of Australian learners of Japanese as a foreign language (L2). In this study, a listening strategy is conceptualised as a mental operation undertaken by a learner to solve a listening comprehension problem in a non-interactional situation. Reading researchers in L2 identified one of the variables which affects text comprehension as formal schema or discourse organisation of text (Meyer and Freedle, 1984; Carrell and Eisterhold, 1988; Carrell, 1991). However, this variable has not been the subject of intensive and extensive research in L2 listening and consequently, there is little empirical evidence which has explored this important variable. With the increased availability of media technology, satellite programs offer rich content and have the potential to provide such information. This paper investigates how news and drama texts may affect the choice of listener strategies, and discusses how the strategies selected by listeners relate to L2 learners’ language proficiency. To collect data on strategies, an introspective ‘think-aloud’ procedure is used and the results are analysed quantitatively.
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Kafewo, Samuel Ayedime. "Discussion, Intervention, Processing: Theatre and Citizenship in Nigeria". New Theatre Quarterly 25, n. 2 (maggio 2009): 178–86. http://dx.doi.org/10.1017/s0266464x0900027x.
Testo completoAbstract (sommario):
A defining characteristic of ‘Theatre for Development’ is its ‘unfinished’ quality, whereby plays or scenarios remain more or less ongoing dialogues. In the following article, Samuel Ayedime Kafewo discusses the relationship between the fiction of the performance and the reality of the performed issues in one drama based on this technique, concerned with the divisive issue of citizenship rights in Nigeria. What is the role of processing and intervention in encouraging new attitudes towards the citizenship issues tackled in the project? What are the strengths and weaknesses of the methodologies adopted? And what was the overall impact of the project, ‘Citizenship, Participation, and Accountability’, as undertaken by the Theatre for Development Centre and the Nigerian Popular Theatre Alliance in 2001–2002 in Kaduna State, north-western Nigeria? Samuel Ayedime Kafewo is an active member of the Zaria Popular Theatre/Theatre for Development movement. He is Reader in the Department of Theatre and Performing Arts, Ahmadu Bello University, Zaria, Nigeria, and has published extensively in both local and international journals.
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Abrudan, Mircea-Gheorghe. "150 Years Since Avram Iancu’s Passing into Eternity: A Publishing Retrospective of the Year 2022". Transylvanian Review 31, n. 3 (19 maggio 2024): 78–93. http://dx.doi.org/10.33993/tr.2024.1.06.
Testo completoAbstract (sommario):
The present article provides a brief historiographical analysis of the editorial year ‘Avram Iancu 150,’ which saw the publication of seven volumes of history, literature, poetry, critical literature, and drama dedicated to the hero of the Romanian Revolution of 1848–1849 in Transylvania. Four books were published by the Școala Ardeleană publishing house of Cluj-Napoca, the only publishing house in Romania to have undertaken a large-scale publishing project dedicated to restoring the life and memory of Avram Iancu for the 21st-century reader, two volumes were published by the Techno Media publishing house of Sibiu, and another volume by the Theosis publishing house of Oradea. Two of the six volumes are critical re-editions of works written in the first half of the 20th century by two distinguished personalities of Romanian culture: philosopher, writer and playwright Lucian Blaga and historian Silviu Dragomir. The other volumes were authored by writer Mircea Tomuș, critic and literary historian Mircea Popa, historian Lucian Giura, librarian Maria Grancea, and Father Ion Alexandru Mizgan of the Orthodox Church.
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Jermyn, Deborah. "Silk blouses and fedoras: The female detective, contemporary TV crime drama and the predicaments of postfeminism". Crime, Media, Culture: An International Journal 13, n. 3 (3 febbraio 2016): 259–76. http://dx.doi.org/10.1177/1741659015626578.
Testo completoAbstract (sommario):
This article examines the markedly contrasting fates of two recent female protagonist led police series, the dismally received Prime Suspect USA (NBC, 2011) and widely celebrated The Fall (BBC, 2013– ), asking what the reception of each suggests about the state of play for women in TV crime drama in today’s postfeminist culture. What do women cops need to do to make the cut in an era in which, on the one hand, it seems they are more prevalent and have more opportunities than ever before (Gerrard, 2014); but also, on the flip side of this, in which they must somehow offer something ‘extra’ to survive in an era where the presence of a female detective in itself is no longer an innovation or novelty? In an era in which, to adopt Angela McRobbie’s much-cited phrase, ‘feminism has been taken into account’ (2007: 255), how can these series’ invocation of feminism or ‘feminist issues’ be understood as fundamental to their respective demise and triumph? I argue that, crucially, Prime Suspect USA’s account of sexist bullying in the NYPD was greeted as hackneyed and overblown, where The Fall spoke adroitly to a media culture in which ratings can be won via a superficial but glossily packaged nod to the female detective’s postfeminist ‘progress’, while relishing misogynistic violence. Hence the article also asks, what implications does an inquiry of the kind undertaken here – where interrogation of the genre combines comparative text-based analysis with critical reflection on the author’s own perturbed response to the eroticisation of violence against women in The Fall – have for future models of feminist criticism of TV crime drama?
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Mori, Mitsuya. "Intercultural Problems and the Modernization of Theatre in Japan". Theatre Research International 20, n. 2 (1995): 149–55. http://dx.doi.org/10.1017/s0307883300008397.
Testo completoAbstract (sommario):
Shakespeare was first produced in Japan in a version fairly faithful to the original when, in 1903, the actor-manager Kawakami Otojiro, who came from outside the Kabuki world, directed Othello. Some reviewers were quite critical of the production, saying that it would make no sense to call this genuine Shakespeare since the serious drama was played so badly as to become comic. Others were more sympathetic and said that one had to be satisfield with this brave undertaking since the audience seemed to have enjoyed it very much. However, most critics did not see the entire performance, either arriving late or leaving before the end. Yet they seem to have felt no need to apologize: they had simply followed the usual custom of theatre-going practised by Kabuki audiences.
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Sarabiev, A. V. "Protest Wave and Countermeasures of Fear: Lebanese Act of a Global Drama". Moscow University Bulletin of World Politics 12, n. 2 (20 novembre 2020): 164–92. http://dx.doi.org/10.48015/2076-7404-2020-12-2-164-192.
Testo completoAbstract (sommario):
The paper examines the dynamics of social protests in Lebanon from October 2019 till March-May 2020 when the government imposed unprecedentedly rigorous restrictive measures to combat the spread of COVID-19 infection. The paper identifies the underlying causes of the protests. The author stresses that from the very beginning socio-economic demands of protestors addressed to the executive power (particularly, to grapple with the rising income inequality) were accompanied by calls for democratization on the secular principles and elimination of political confessionalism. At the same time, the author outlines certain specifics of popular uprisings in Lebanon that distinguish them from simultaneous protests in other countries, namely their supra-ethnic, supra-religious and non-partisan character and their remarkable coherence and coordination, given the lack of overall leadership. The author emphasizes that the subsequent change of government has not brought, however, significant changes the protestors hoped for. The new Cabinet was not free from traditional confessional and political bias, whereas legal and administrative measures undertaken by the new government to combat the pandemic were, apparently, also aimed at ‘freezing’ the current situation favorable for both the parliamentary majority and the government. In particular, the recent laws and regulations reflect the Government’s desire to prevent the resumption of protests equivalent to those of the fall of 2019. All these measures did not face serious resistance, even though the economic situation of the population has worsened, and many people have lost their livelihoods. However, the fear of the COVID-19 has proved to be a more efficient means of preventing protests than any punitive measure. The author concludes that the dynamics of inter-party competition even under strict quasi-quarantine measures shows that the hopes of protestors for a genuine transition from a traditional clan and confessional structure of the Lebanese political system to the standards and principles of a developed democracy proved futile.
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Ernani, Ernani. "UPAYA MENINGKATKAN HASIL BELAJAR DRAMA DAN AKTIVITAS SISWA MELALUI METODE ROLE PLAYING PADA SISWA KELAS V SD NEGERI 020 TEMBILAHAN HILIR". JURNAL PAJAR (Pendidikan dan Pengajaran) 1, n. 2 (28 novembre 2017): 290. http://dx.doi.org/10.33578/pjr.v1i2.4599.
Testo completoAbstract (sommario):
Indonesian language learning at SD Negeri 020 Tembilahan Hilir is currently not showing the expected results.The learning atmosphere is predominantly teachers and students' language skills are very low. Teachingactivities undertaken by teachers, less use or use of learning methods that vary. Such learning is less interestingand students become passive. The condition of Indonesian learning in class V SD Negeri 020 Tembilahan Hiliris still below the minimum mastery criteria. One of the methods used to increase learning activity is through roleplaying method. This research was conducted at SD Negeri 020 Tembilahan Hilir Kecamatan Tembilahan. Thisresearch was conducted in May 2016 with the subject of 25 students. The result of this research concludes thatlearning role playing method has a positive impact in improving students 'learning achievement which is markedby the improvement of students' learning mastery in every cycle, that is cycle I (56.00%) and cycle II (92.00%).Implementation of learning role playing method has a positive influence, which can increase aktivtas studentsare shown with the results of observation no more students who get less criteria.
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Penteado, Flávio Rodrigo. "Oswald de Andrade, dramaturgo piromaníaco// Oswald de Andrade, a pyromaniac dramatist". O Eixo e a Roda: Revista de Literatura Brasileira 32, n. 2 (16 novembre 2023): 28. http://dx.doi.org/10.17851/2358-9787.32.2.28-45.
Testo completoAbstract (sommario):
Resumo: O artigo se propõe a examinar a atuação de Oswald de Andrade como dramaturgo, com destaque para A morta – ato lírico em três quadros (1937). A peça se encerra com um incêndio, provocado pela personagem do Poeta e cujas chamas se espalham por todo o teatro. Por um lado, é possível enxergar nesse desfecho a explicitação do furtivo ímpeto revolucionário da obra, na qual se encena o embate entre a classe trabalhadora insuflada por ideias marxistas e a elite patronal adepta do integralismo fascista. Por outro lado, também é possível enxergar nele a contrapartida alegórica do aniquilamento da forma dramática manifesta nesse drama. A análise aqui empreendida busca equacionar ambas as perspectivas de abordagem, tanto ao evocar o contexto sociopolítico subjacente à composição do texto quanto ao realçar aspectos da peça como a separação entre corpo e voz ou o esvaziamento da ação dramática. Por fim, pretende-se assinalar que os atributos estéticos da peça, responsáveis por distanciá-la de convenções teatrais em vigor na época de sua escrita, contribuem, hoje em dia, para que sua leitura seja muito estimulante no início do século XXI.Palavras-chave: teatro brasileiro; modernismo; drama moderno e contemporâneo; A morta; Oswald de Andrade.Abstract: This paper aims to examine Oswald de Andrade’s role as a playwright, with emphasis on A morta – ato lírico em três quadros (1937). The play ends with a fire, caused by the character of the Poet and whose flames spread throughout the theater. On one hand, it is possible to see in this outcome the explanation of the furtive revolutionary impetus of the work, in which the clash between the working class inspired by Marxist ideas and the employer elite adept of fascist integralism is staged. On the other hand, it is also possible to see in it the allegorical counterpart of the annihilation of the dramatic form manifested in this drama. The analysis undertaken here seeks to equate both perspectives of approach, by evoking the socio-political context underlying the composition of the text and by highlighting aspects of the play such as the separation between body and voice or the emptying of dramatic action. Finally, it is intended to point out that the aesthetic attributes of the play, responsible for distancing it from theatrical conventions in force at the time of its writing, contribute, nowadays, to its very stimulating reading at the beginning of the 21st century.Keywords: Brazilian theater; modernism; modern and contemporary drama; A morta; Oswald de Andrade.
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Diko, Mlamli. "Gender-Based Violence (GBV) in South Africa: An Interdisciplinary Discourse Analysis of One Selected isiZulu and One Selected isiXhosa Literary Text". African Journal of Inter/Multidisciplinary Studies 5, n. 1 (2023): 1–11. http://dx.doi.org/10.51415/ajims.v5i1.1147.
Testo completoAbstract (sommario):
Gender-Based Violence (GBV) in South Africa is a post-colonial social ill. Women and young girls suffer double oppression in the country. First, they are oppressed for being women and young girls; and second, they are oppressed for being women and young girls of the lower class. This article aims to utilise one selected isiZulu and isiXhosa drama, respectively, to effectuate a meticulous examination of how and why GBV is a recurring pattern. The ultimate aim is to underline the unprejudiced reality that South African literature (isiZulu and isiXhosa, for example) engages contemporary social ills such as GBV, subordination of women and young girls, gender discrepancies, and neolithic stereotypes. African feminist technique is utilised as a conceptual framework to advance the said aims of the article. In the process, the qualitative research methodology is employed to describe and explain the nature of the data source. The discussions and findings demonstrate that although women and gender discourses research has been undertaken extensively, the fact that women and young girls continue to be tormented is enough to prove that there is a conundrum in South Africa and possibly, elsewhere.
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Mankovskaya, Nadezda Borisovna. "The Man of Action of French Romanticism. Aesthetic Views of Victor Hugo and their Embodiment in Poetry and Dramaturgy". Культура и искусство, n. 8 (agosto 2023): 50–73. http://dx.doi.org/10.7256/2454-0625.2023.8.39409.
Testo completoAbstract (sommario):
The subject of the study is the fundamental philosophical and aesthetic problems in the romantic aesthetics of one of its leaders in France - Victor Hugo. The evolution of his aesthetic views is traced - from adherence to the aesthetics of classicism and royalist views to the established theory and artistic practice of romanticism, colored with democratic pathos. The core of Hugo's aesthetics is revealed - the original concept of the grotesque, which has found a convincing embodiment in his poetry, drama, historical novels. Such main themes as the correlation of the tragic and the comic, the beautiful and the ugly, the sublime and the base, content and form, freedom and order, historical truth and fiction in art, romantic symbolization in the context of the formation of the concept of the artistic essence of romanticism by Hugo are considered. The features of his artistic and aesthetic concept related to the national specifics of art, local color, the problems of artistic taste, inspiration, imagination, aesthetic pleasure, artistic style, genius, talent are analyzed. The main conclusion of the study is the conclusion that all these topics form the basis of Hugo's judgments about the nature of romantic drama as the pinnacle of 19th century poetry and its differences from classic tragedy. The multidimensional nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art history analysis, comparative, interdisciplinary methods. The author's special contribution lies in the fact that the study of Hugo's aesthetic theory and artistic practice is based on original material. The article provides a comparative analysis of the embodiment of Hugo's aesthetic views in various types and genres of art. Such a study was undertaken for the first time in domestic science.
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Łobodziec, Agnieszka. "Violent Black Man and the Myth of Black Macho in Eugene O’Neill’s “The Dreamy Kid”". Respectus Philologicus 26, n. 31 (25 ottobre 2014): 123–32. http://dx.doi.org/10.15388/respectus.2014.26.31.9.
Testo completoAbstract (sommario):
The aim of this article is the investigation of the extent to which Eugene O’Neill, in his drama The Dreamy Kid, (re)constructs, or employs, the black macho myth, which negatively images black men as marginalized and violent. This undertaking questions O’Neill’s self-proclaimed progressive racial attitudes and stated focus on the universal nature of human existence, which he professed to express through drama. Moreover, the article challenges the mainstream view of The Dreamy Kid as progressive. Although the play focalizes the experience of a marginalized black man, which could be interpreted as the playwright’s concern with the unjust racial and class stratification of American society, O’Neill’s production, unfortunately, contains a number of pervasive stereotypes relative to black people’s alleged moral degeneracy, primitiveness, and violent behavior, which threatens the white dominated constructed order. In terms of gendered racial politics, in the article attention is given to O’Neill’s presentation of black male negotiations with the white patriarchal power structure, embodied by the police forces, and with black matriarchy, represented by O’Neill’s stereotypical character portrayal of a dominant elderly black woman. Lastly, an overall analysis is performed in light of the call for an autonomous black art, which emerged among black artists in opposition to the demeaning, unrealistic, stereotypical portrayals of black victims of oppression by white American writers.
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Mikhnovets, N. G. "AUTHOR, VIEWER AND READER OF THE DRAMA AT THE RECEPTION OF THE F. M. DOSTOYEVSKY". Culture and Text, n. 55 (2023): 50–65. http://dx.doi.org/10.37386/2305-4077-2023-4-50-65.
Testo completoAbstract (sommario):
The article shows that one of the subjects of reception of Mikhail and Fyodor Dostoevsky in the critical analysis of “The Thunderstorm” Drama in Five Acts by A. N. Ostrovsky (1860), dedicated to the dramaturgy of A. N. Ostrovsky, was the specificity of drama as a type of literature. It is emphasized that critics have undertaken a comparison of the strategies of the epic writer and the playwright, the activities of the reader of the epic-narrative work and the viewer, as well as the reader of the drama and the viewer. It was revealed that the focus of their attention was the difference in the perception of a dramatic work by the viewer and the reader. The reception of the Dostoevskys is described, which is of a theoretical nature; according to it, the playwright creates a “ready-made” character, the expression of which is manifested in the development of dramatic action. It is emphasized that, according to critics, the logic of the character’s actions must be carefully thought out and justified by the author in advance, so that during the performance it can be immediately open and understandable to the viewer. The viewer is simultaneously involved with the character in the dynamics of the development of the action; emotions are dominant in his perception; the playwright should not excite the “mind and imagination” of the viewer. The viewer will be required to work with imagination, but only in terms of scenography: such imagination will have the nature of an addition to what is succinctly outlined by the playwright. On the one hand, the reader of a dramatic text approaches the reader of an epic-narrative work, but in contrast to the viewer, he is more analytical than emotional. On the other hand, the possibilities of dialogue with the author (compared to the reader of an epic-narrative work) are narrowed for both the viewer and the reader of the dramatic text. It has been suggested that the Dostoevskys relied on the theory of drama by G. V. F. Hegel and his follower V. G. Belinsky. The article argues that F. M. Dostoevsky in his further work returned to the provisions from the critical analysis of A. N. Ostrovsky’s dramaturgy and developed them. It is shown that in the theatrical chapters of “Notes from the House of the Dead” and “Winter Notes on Summer Impressions”, as well as in the draft sketch “On the People’s Theater “Petrushka””> the writer examined the perception of the audience in a variety of ways: in psychological, social, ideological, aesthetic aspects. In the 1870s. F. M. Dostoevsky continued to be interested in the question of the differences between different types of art, while his interest in the deep nature of the general emotional reaction of the auditorium intensified
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Reid, Jennifer A. "“Of Robyn-hood and of His Traine": Competition, Combat, and Experimentation in Early Modern Robin Hood Drama". Romard 59 (2022): 39–66. http://dx.doi.org/10.32773/fatc5674.
Testo completoAbstract (sommario):
This article asks what cultural work is done by different types of Robin Hood performance in early modern England, examining how specific instances of Robin Hood plays and games differ from each other in form, function, and meaning. It examines dramatic and festal activities during the late medieval and early modern period, focusing approximately on the years 1500-1625. A varied corpus of evidence exists illustrating the volume and diversity of Robin Hood activities, ranging from largely unscripted contests and processional activities undertaken at a parish level; to brief, semi-improvisational dramas probably acted by amateur participants; to civic pageants and shows; to the flourishing of Robin Hood plays on the commercial stage in the last decade of the sixteenth century. Given the frequency with which Robin Hood activities are attested and discussed in this period, this article asks precisely what early moderns found useful or appealing about the legend, and what this reveals about how customary performance functioned more generally. It starts by investigating the recurring evidence of combat and improvisation in extant records of parochial Robin Hood activities, before setting these alongside Robert Greene’s George a Greene, Pinner of Wakefield (c. 1587-1593), arguing that this play deliberately adapts and engages with the festive tradition as much as with the Robin Hood stories circulating ballad form. Finally, the article turns to Star Chamber records for occasions where Robin Hood games became entangled with local conflicts, asking what these incidents reveal about the customs more broadly. Throughout the article, Robin Hood games are approached, not as monolithic or static in meaning, but as multistranded and adaptable, shaped by and selected for the contexts in which they appear.
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Lepisheva, Elena M. "“Us them”: trends in the development of Russian and Belarusian dramaturgy of the last third of the XX ― beginning of the XXI century". Semiotic studies 1, n. 3 (29 dicembre 2021): 39–49. http://dx.doi.org/10.18287/2782-2966-2021-1-3-39-49.
Testo completoAbstract (sommario):
The article focuses on the features of the dramatic process in Belarus and Russia, studied in a comparative aspect of the Soviet (1970s-1980s) and post-Soviet (1990s 2010s) periods. Our goal is to identify common and different in the dramaturgical systems of related literatures through the prism of thekey topos of the artistic structure of the works of Russian and Belarusian authors hero, conflict, chronotope. Methods of comparative studies (comparative analysis of the literary process), as well as historical and literary methods are used to implement the tasks set. The material includes the works of more than 200 Belarusian and Russian playwrights. Russian literature (A. Vampilov, L. Petrushevskaya, N. Kolyada) and Belarusian literature (A. Makayonok, E. Popova, A. Dudarev), separate directions (new wave of Russian dramaturgy of the 1970s-1980s), stages of dramaturgical life (new drama of the 1990s-2010s), aesthetically controversial development intentions (dramaturgical practice of netuteyshy in Belarusian post-Soviet dramaturgy) are given special attention. The scientific novelty of the research is predetermined by the fact that for the first time in literary studies, a comparative analysis of the dynamics of the dramatic process in Belarus and Russia has been undertaken for such a long time the last four decades.