Articoli di riviste sul tema "Widows – Drama"

This research study focuses on the socio-cultural problems faced by widows in the district of Lahore, Punjab, Pakistan, and the current causes of their defame helplessness and disdainful status while living in their own community and facing barriers. The stigma around widows played a significant role in their marginalization within society and the community. This limited the widow’s views and caused her to be destitute in life. We used a purposeful sampling method in this qualitative research study. We collected information from the twenty respondents through in-depth interviews. The aim of the in-depth interview is to address the socio-cultural problems posed by widows in Lahore. The respondents’ widows were of lower socio-economic status. The results of the study show that a widow is waiting for a new challenge every day; however, widows do have some opportunities like financial assistance and skill development through government institutions as well as the private sector. They become victims of stereotypical ideas and face many social and cultural problems, such as violence, family indifference, poverty, depression, etc. A widow is fighting for her freedom, but there is no awareness. This study proposed potential strategies to tackle the social and cultural issues faced by widows, including raising media awareness through drama and setting up an economic package system for widows.

As a romantic drama fictionalizing the Regency marriage mart, Bridgerton () is a series which privileges women’s experiences. From the debutantes entering society, to their ‘ambitious mamas’, feminine narratives play out across the two seasons which have aired to date. Warranting particular attention are the figures of the widow and the ‘spinster’, whose representations this article explores. Bridgerton’s widows are presented as dynamic characters at the centre of their families and the ‘bon ton’, embodying the freedoms elite widows could enjoy. In contrast, the spinster is a topic of (negative) discussion but absent physically, despite the many elite Georgian women who never married. Ideals of independence are explored in some of Bridgerton’s young protagonists, but these are ultimately limited in the constraints of the drama’s romanticized Regency world.

The War in One Fate: Biographical Narratives of Widows of Soviet Servicemen on the Basis of Letters to the Authorities of Lviv in 1944-1945The article analyzes letters written in late 1944 and in 1945 by widows of Soviet servicemen to the authorities of the city of Lviv requesting a permit to move or return to Lviv, the construction of women’s biographical narratives and the image of women in the war. The main topic discussed in post-war correspondence was the war trials and different fates of women sharing the experience of life in Lviv in 1939 -1941. It demonstrates similar strategies of survival and communication with the totalitarian state, and the contradictory image of woman in war time. The personal drama of her husband’s death, the sudden collapse of the social hierarchy, and, in particular, the destruction of “pre-war” housing stock in Lviv and other livelihood opportunities in a big city, prompted woman, in the already partly assumed role of the head of the family, to look for ways to regain their former position. Probably, they wrote special letters, among many other quite similar appeals to the government, in order to attract attention to themselves. The narrative analysis of the letters has made it possible to isolate the images of Lviv in the representations of people of the (post)war period, to disclose the „Soviet language” and the (un)typical gender-related aspects of texts written by women.

ABSTRACT The activity of 99 Home Improvements for Widows of the Elderly is a social movement carried out by Semut Ibrahim Kompassmatic. This activity contains a noble culture of gotong royong, social interaction that shows cooperation between individuals and between groups and forms positive values that strengthen mutual trust to cooperate in dealing with problems of common interest. The main purpose of this movement is to awaken the spirit of mutual cooperation in the community, because mutual cooperation for Semut Ibrahim is a national germplasm that must be maintained, cared for, and passed on. The creation of this documentary film was initiated through research using qualitative methods followed by stages including pre-production, production and post-production. Documentary film directing applies expository Documentary which relies on logical information, presented through text or sound. The presence of images or visuals is only a support. Images are presented as illustrations, amplify sound, build drama, or are presented as contradictions with sound. The production of the Semut Ibrahim documentary film is the author's attempt to introduce the “99 Movement for the Surgery of the Semut Ibrahim Widow House” and to interpret the mutual cooperation culture contained therein. Film work, it is hoped that the data will inspire the community that fellow human beings can jointly create solidarity to help each other alleviate the suffering of people in need. ABSTRAK Gerakan 99 Bedah Rumah Janda Jompo merupakan gerakan sosial yang dilakukan oleh Semut Ibrahim Kompassmanic. Aktifitas ini mengandung budaya luhur gotong royong, interaksi social yang menunjukan bentuk kerjasama antar individu dan antar kelompok serta membentuk nilai-nilai positif yang memperkuat rasa saling percaya untuk melakukan kerjasama dalam menangani permasalahan yang menjadi kepentingan bersama. Tujuan utama gerakan ini untuk membangkitkan semangat gotong royong masyarakat, karena gotong royong bagi Semut Ibrahim merupakan plasma nutfah kebangsaan yang harus dijaga, rawat, dan diwariskan. Penciptaan film documenter ini dimulai melalui penelitian dengan metode kualitatif dilanjutkan dengan tahapan meliputi pra produksi, produksi dan paska produksi. Penyutradaraan film dokumenter menerapkan Dokumenter ekspositoris yang bersandar pada informasi logis, disajikan melalui teks maupun suara. Kehadiran gambar atau visual merupakan pendukung saja. Gambar dihadirkan sebagai ilustrasi, memperkuat suara, membangun drama, ataupun dihadirkan sebagai kontradiksi dengan suara. Produksi Film dokumenter Semut Ibrahim merupakan upaya penulis untuk memperkenalkan “Gerakan Bedah 99 Rumah Janda Jompo Semut Ibrahim” serta memaknai budaya gotong royong yang terkandung di dalamnya. Karya Film, diharapkan data mengsinspirasi masyarakat bahwa sesama manusia bisa bersama-sama mewujudkan solidaritas membantu sesama meringankan penderitaan hidup masyarakat yang membutuhkan.

Purpose: This study was conducted to analyze Korean research papers in which Interpersonal Caring Theory was applied and suggest future directions for effective application and development. Methods: Data collection was done through electronic databases RISS, KISS, DBpia, NDSL and SCHOLAR. Twenty papers were analyzed according to general characteristics, interventions, variables and findings. Results: The number of published papers per publication year was 5 in the 2000s and 15 in the 2010s. The type of research design was for case studies, 1, for survey studies, 8 and for quasi experimental studies, 11. Participants in the studies included students, nurses, patients, office workers, volunteers and widows. Interventions used included drama therapy, Enneagram based interpersonal caring, horticulture, hospice, multimedia, music and rehabilitation. Variables that were related to Interpersonal Caring work included anxiety, college life adjustment, emotional intelligence, grief, happiness heart rate variability, hope, interpersonal caring behaviors, interpersonal relations, job stress, knowledge on self illness, loneliness, mental health, quality of life, self-esteem, serum cortisol, social behavior and stress coping. Emotional intelligence, interpersonal relations, job stress, loneliness and self-esteem were among the variables that did not work. Conclusion: The results show that Interpersonal Caring Theory can be a micro-range theory of nursing care that can be applied with clients in many fields by converging with various activities.

Abstract Margaret Cavendish (1623–1673) is nowadays remembered as one of the most outspoken female writers and playwrights of the mid-seventeenth-century; one who openly promoted women’s right to education and public displays of creativity. Thus she paved the way for other female artists, such as her near contemporary, Aphra Behn. Although in her times seen as a harmless curiosity rather than a paragon to emulate, Cavendish managed to publish her plays along with more philosophical texts. Thanks to the re-discovery of female artists by feminist revisionism, her drama is now treated as a valuable source of knowledge on the values and norms of her class, gender, and, more generally, English society in the seventeenth century. Cavendish’s two-partite play Bell in Campo (1662) is a fantasy on the world where women can fight united not only against misogyny but also against an actual enemy. While the two plays seem to be focused on the valiant Lady Victoria and her female “Noble Heroicks”, Bell in Campo likewise offers an odd subplot featuring two widows and their lives without their beloved husbands. In the secular discourse of the seventeenth century, widowhood has been seen as either liberating – as when the woman became the sole owner of her husband’s estate and goods, or regained her own, and thus more independent – or degrading – when she became the not-so-welcomed burden on her children’s shoulders and pockets. Other studies on widowhood likewise state its symbolic function, showing women as the bearers of memory, predominantly of the husband and his virtues, and often attending to the spouse’s site of memory. While discussing the cultural history of properly performed widowhood, seen as the final (st)age of a woman’s life, and taking into account Cavendish’s remarkable biography, the present paper offers a close study of her propositions for appropriate widowhood and its positioning in contrast to other states of womankind as presented in Bell in Campo.1 It will likewise take into account the more or less sublimated evidence for gerontophobia, particularly in relation to women, as shown in Cavendish’s play and seventeenth-century culture.

The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity of his youth and adulthood. This article explores a fourth, essentially untested, interpretive approach: the possibility that Mendelssohn crafts from Elijah’s story a heartfelt affirmation of domesticity, an expression of his growing fascination with retiring to a quiet existence in the bosom of his family. The argument unfolds in three phases. In the first, the focus is on that climactic passage in Elijah’s Second Part in which God is revealed to the prophet in the “still small voice.” The turn from divine absence to divine presence is articulated through two clear and powerful recollections of music that Elijah had sung in the oratorio’s First Part, a move that has the potential to reconfigure our evaluation of his role in the public and private spheres in those earlier passages. The second phase turns to Elijah’s own brief sojourn into the domestic realm, the widow’s scene, paying particular attention to the motivations that may have underlain the substantial revisions to the scene that took place between the Birmingham premiere and the London premiere the following year. The final phase explores the possibility that the widow and her son, the “surrogate family” in the oratorio, do not disappear after the widow’s scene, but linger on as “para-characters” with crucial roles in the unfolding drama.

Behind a blackened window in Kabul, Laila, a widow, seeks solace in sex while earning her living as a prostitute. She and her lover Ash find refuge from the violence, loss, and fear that is their daily lives under the Taliban.

The study in this the drama of The Bear by Anton Chekov. This drama depicts a widow and debt collector. The problem in the drama of The Bear is on personality and character changes. This research uses observation method with note-taking technique and uses interpretation in analyzing data. For this reason, the theory of Sigmund Freud's (Id, Ego, Super-ego) is used. From the results of this study the authors found the characters of Popova and Smirrnov, in which Smirnov was actually a kind, young, beautiful, and Popova who was kind, romantic but rude. The cause of the change in Popov's character is based on his loneliness and Smirnov is based on economic needs. In Psychology Smirnov's personality who wants money (Id) and Popov want to force himself to duel with Smirnov (Ego) regardless of people in the surrounding environment, especially Luka as a helper of Popov (Super-Ego) in their quarrels and unwittingly emerge a feeling of love between Popova and Smirnov and finally they fall in love.

Various scholars have speculated about the possible link between the Fourth Gospel and drama. Such a connection, if valid, could potentially lead to the widening of hermeneutical lenses with which the Gospel is explored. While the exegetical field of biblical performance criticism has begun to break open the hermeneutical field by introducing performative and oral elements into the conversation, an attempt to formulate a methodology for a drama analysis of the text still needs to be made. This article evaluates the possibility of reading the Fourth Gospel through a drama lens in order to explore its possible performative impact on a first-time hypothetical audience. The article experiments with possible parameters of biblical drama criticism and how the translation of the text into stage-script format could be useful in academic and ecclesial spaces. Such a translation invites new experiences with the text and an expansion of the hermeneutical spectrum to include various non-textual elements like sound and sight. Moreover, it widens the hermeneutical scope to explore the audience’s own (vulnerable) journey with the performance by taking their possible struggle(s) with the drama seriously.

The article is based on the analyses of two photo-texts by young Polish photographers, Paweł Starzec and Łukasz Gniadek. Both artists show cultural landscapes in a ‘new topography’ style to tell stories about the war trauma of inhabitants of displayed areas. Makeshift by Starzec is dedicated to victims of the 1992-95 war in Bosnia and Herzegovina and Under the Surface by Gniadek refers to Polish Jews history in Warsaw. Photographers present no visual signs of the bygone tragedy, however – through focusing on landscapes – they direct attention of the viewer to the drama of human loss. Remembering that, according to the title of Susan Sontag’s book, in photography we ‘regard the pain of Others’, I state that a view of pain does not have to be the main means used in visual narration on suffering. Paradoxically, it is a ‘view’ that blocks the empathy for the Other. Thus we need a non-view to understand the experience of those who suffer.

The article introduces into scientific circulation two letters written by the widow and daughter of F. M. Dostoevsky in 1912 and 1924 and addressed to the famous French director Jacques Copeau. These documents were discovered as a result of archival searches in the J. Copeau foundation in the National Library of France. The two letters are connected by their subject — the debut production of the play “The Brothers Karamazov” by Copeau at the Paris Theater of Arts in 1911. Reviews of the production published in the European and Russian press contain range of opinions: from enthusiastic to sharply critical. In his letter A. G. Dostoevskaya praised Copeau’s drama, however, she familiarized herself with it without seeing the theatrical production itself, by reading the book that the director had sent her. The publication of Copeau’s play, which is based on the novel “The Brothers Karamazov”, is a little-known exhibit of the Memorial Museum of F. M. Dostoevsky, established by the writer's widow in 1889. It is mentioned only in the notebook of A. G. Dostoevskaya 1912–1913. The year of inclusion of published Copeau’s play in the collection of the Memorial Museum of F. M. Dostoevsky is established based on the letter and the notebook of the writer’s widow. The letter from L. F. Dostoevsky contains information about her communication with such famous French writers as Jacques Copeau, Irénée Mauget and Paul Bourgeois, as well as about the attempts of the copyright heiress to receive remuneration for the production undertaken by Copeau. These details augment the currently scarce information about the emigration period in the biography of the writer's daughter. The appendix to the article contains the letters of A. G. and L. F. Dostoevsky in French and in translation.

Although long slighted by critics, Lovel the Widower should be recognized as the most overtly theatrical work we have from one of the nineteenth century's most theatrical writers. Adapted for the Cornhill Magazine from Thackeray's failed drama, The Wolves and the Lamb, Lovel is narrated by a character who calls himself the “Chorus of the Play” and tells the story of a governess who must hide the fact that she was once an actress. Thackeray published the story to keep the Cornhill's readers entertained while he began work on his last completed novel, The Adventures of Philip. As a piece of occasional journalism, Lovel therefore shares a closer kinship with Thackeray's other periodical writings and Christmas books than it does with his mature novels. Not destined to be the newly-launched Cornhill's chief fictional attraction (that honor went to Trollope's Framley Parsonage), Lovel actually functioned in the magazine as the literary equivalent of a theatrical comic afterpiece.

The arrival of actresses during the Restoration greatly affected the presentation of female characters, since the body of the woman on the stage was heavily sexualised. Actresses concretised the erotics of the Restoration playhouse and theatregoers took much pleasure in seeing actresses perform in roles that were fashioned to exploit the possibilities offered by the presence of women. Dramatists often put women in trousers, in what were known as “breeches roles”, as a way of displaying women’s bodies. Compared to the multi-layered functions of cross-dressing in Renaissance drama, such disguise became frequently a titillating device. However, there are several plays in this period that employ the cross-dressing motif to offer a more subversive critique of conventional attitudes toward female sexuality. This article will focus on Aphra Behn’s The Widdow Ranter (1690) and Thomas Southerne’s Sir Anthony Love (1691), plays which feature an androgynous central figure, a woman whose male dress is not a temporary disguise, a mask, but an expression of her character. Sir Anthony Love/Lucia uses the freedom of male dress to enjoy, express and enrich herself, and lay her own snares. An androgynous figure of a different type plays a prominent part in the comic plotline of Behn’s tragicomic The Widdow Ranter. Ranter swears, smokes a pipe, drinks punch and plans to fight a duel with her lover as a way of courting him. Such Amazon figures are often introduced in Restoration drama only to be ultimately subdued by men. As this article intends to prove, that is not the case in these two plays. However, subverting the double standard by ignoring it is possible only because of the plays’ settings: fantasy France and pastoral America.

This paper focuses on the protagonists of two dramas A Man for All Seasons and Murder in the Cathedral to be studied through the critical prospective of psychoanalysis. The protagonists of the dramas meet their death at the end of the play and their death is appreciated as martyrdom by the readers of the plays without seeing critically their mottos behind their death. Challenging that, this paper varies in the stance that Beckett’s death is a suicide rather than martyrdom, thus questioning the traits of the personalities of the protagonists and their mottos behind their deaths. Taking Freud’s Psychoanalytical theory as a theoretical framework; Jung model of Psychoanalysis for conceptual terminologies and conducting close textual analysis, this study aims to conclude with references. The study is significant in a sense that it widens the dimensions of comparative studies of the modern literary works through contemporary critical theories. It also highlights the application of psychology in the literature in general and the English literature in specific.

The article discusses the problem of the non-existent biography of Yury Dombrovsky, and sets out to disprove the myth created by the newspaper Novaya Gazeta about KGB’s persecuting and eventually murdering the writer in retaliation for his novel The Faculty of Useless Things [Fakultet nenuzhnykh veshchey]. Facts manipulation, replacement of the truth with personal beliefs and conjectures, and, ultimately, letting a work of imagination invade the reality – those are just a few examples of global mythologizing, or the post-truth reality, one of today’s biggest challenges. To a certain extent, an article is written in response to the last year’s scandal covered by Novaya Gazeta, which published the article A Brawl with Phantoms [Draka s prizrakami], only to follow up with a refutation co-written by the newspaper’s own reporter O. Khlebnikov and Dombrovsky’s widow K. Turumova-Dombrovskaya. The paper is based on the aforementioned controversial article, revised and expanded for the publication.

Reception of Pavić’s work is conducted per déjà vu principle – it is not just that the heroes, situations and motives travel from one text to another, but also fragments or entire stories can be found within the structure of larger works, all the while going through certain transformations (name changes with characters, shortening or downsizing of primary fragments, weaving them with leitmotifs etc.). Connections of “one’s own” and “one’s own” in creative opus of Milorad Pavić is shown through examples of self-citation and auto-allusions between Pavić’s poetry, prose and dramas is presented in this paper. Such autointertextuality confirms the functioning of literary reality of Pavić’s productions as conceptual entirety, so that actualisation of explicit and implicit connections between works widens the intertextual semantic field of writingreading, i.e. the intertext.

В контексте композиторской техники Николая Корндорфа интересно необычное использование человеческого голоса, встречающееся в некоторых сочинениях композитора. В статье приведен краткий анализ трех произведений, в которых такое использование голоса связано с драматургической концепцией, а также приведены высказывания самого Николая Корндорфа и его вдовы Галины Юрьевны Авериной об особенностях техники композитора и исполнительских деталях, сыгравшие важную роль в аналитическом разборе сочинений. In composition techniques used by Nikolai Korndorf there is an interesting and unusual role attached to the human voice in some of his instrumental works. The article briefly discusses three works in which this use of human voice correlates with the dramaturgy concept, and also cites several statements by Korndorf and his widow Galina Yurievna Averina about special features used in the composer's techniques as well as performance details that play important role in analyzing his works.

Abstract The Covid-19 Handling Drama is a national leadership test event. On the other hand, society will depend on its leader and as a leader, he must meet the high expectations of himself. The Covid-19 pandemic is a threat in itself for the Government of Indonesia, if it cannot balance between encouraging economic activity (political interests) and public health (an urgent situation). This article explores the phenomenon of the central role of adaptive leadership in dealing with the Covid-19 pandemic based on constitutional rights taken to save people's lives, but the potential for corruption by using the Normative Juridical approach that prioritizes secondary data. The conclusion that can be drawn from this article is that there is no single best cure for winning this battle because the "opponent" of the current government is a growing virus. In handling the covid-19 virus pandemic, an adaptive leader is needed, namely a Leader who has authority as a consequence of the President's authority as head of state and head of government. President Joko Widodo uses his constitutional right to issue Government Regulation in Lieu of Law (Perpu) number 1 year 2020 concerning State Financial Policy and Financial System Stability for Handling the 2019 Corona Virus Disease (COVID-19) Pandemic and / or in the Context of Facing Threats that Endanger the National Economy and / or Financial System Stability. Adaptive Leadership is a form of Adaptive Governance in Handling Covid-19 but is prone to corruption. Keywords: Adaptive Leadership and the Constitutional Rights of the President of the Republic of Indonesia, Prone to Corruption Abstrak Drama Penanganan Covid-19 adalah ajang uji kepemimpinan Nasional. Disisi lain, masyarakat akan sangat tergantung pada pemimpinnya dan sebagai seorang pemimpin, dia harus memenuhi tingginya ekspektasi terhadap dirinya. Pandemi Covid-19 merupakan ancaman tersendiri bagi Pemerintah Indonesia, bila tidak dapat menyeimbangkan antara mendorong aktivitas perekonomian (kepentingan politik) dan kesehatan public (keadaan mendesak). Artikel ini menelusuri fenomena peran sentral kepemimpinan adaptif dalam menangani pandemic covid-19 berdasarkan hak konstitusional yang diambil untuk menyelamatkan jiwa masyarakat, namun potensi korupsinya dengan menggunakan pendekatan Juridis Normatif yang mengutamakan data sekunder. Kesimpulan yang dapat ditarik dari artikel ini bahwa tidak ada satu obat yang paling mujarab untuk memenangkan pertempuran ini sebab ‘lawan’ pemerintah kali ini adalah virus yang terus berkembang. Dalam melakukan penanganan pandemic virus covid-19 dibutuhkan seorang pemimpin yang adaptif yaitu Leader yang mempunyai Otoritas sebagai konsekwensi dari kewenangan Presiden sebagai kepala Negara dan kepala pemerintahan .Presiden Joko Widodo menggunakan hak konstitusionalnya untuk menerbitkan Peraturan Pemerintah Pengganti Undang-undang (Perpu) nomor 1 tahun 2020 tentang Kebijakan Keuangan Negara dan Stabilitas Sistem Keuangan untuk Penanganan Pandemi Corona Virus Disease 2019 (COVID-19) dan/atau dalam Rangka Menghadapi Ancaman yang Membahayakan Perekonomian Nasional dan/atau Stabilitas Sistem Keuangan. Adaptive Leadership ini merupakan bentuk Adaptive Governance dalam Penanganan Covid-19 namun rawan terjadinya korupsi. Kata kunci: Adaptive Leadership dan Hak Konstitusional Presiden RI, Rawan Korupsi

„Dzieła” Henryka Sienkiewicza w dokumentach Głównego Urzędu Kontroli Prasy, Publikacji i Widowisk (1948–1954), wybór, oprac., wstęp Kamila Budrowska, Katarzyna Kościewicz, Białystok: Alter Studio 2016 (Cenzura w PRL. Archiwalia, t. 1), ss. 262. ISBN 978-83-6408-134-7Dramat i teatr w dokumentach GUKPPiW, red. Kamila Budrowska, Magdalena Budnik, Katarzyna Kościewicz, Białystok: Alter Studio 2017 (Cenzura w PRL. Archiwalia, t. 2), ss. 307. ISBN 978-83-6408-138-5„Biuletyn Informacyjno-Instrukcyjny”. Wybór dokumentów z 1955 r., red. Kamila Budrowska, Magdalena Budnik, Wiktor Gardocki, Białystok: Alter Studio 2018 (Cenzura w PRL. Archiwalia, t. 3), ss. 241. ISBN 978-83-6408-151-4

Narrative analysis of literary works enables to interpret present-day narrative texts in all their multi-level depth making use of the tools accumulated in science -especially if those texts concern current and topical political events, which are usually spoken about in the language of media discourse. Change in the state (inner and outer) and presence of a narrator having his/her personal viewpoint and, consequently, the specific language of his/her message are signs of a narrative structure. The subject for consideration in this article based on Zakhkhok by Vladimir Medvedev and To Live On by Narine Abgaryan is key levels of the narrative text organization needed for such analysis. The texts chosen for the research are similar in subject matter (military conflicts in the post-Soviet space caused by the collapse of the USSR) and in the author’s strategy - to include characters’ personal destinies into the social history of the country and further to try and conceive them as part of the cultural code of the nation. The peculiarity of the author’s view is the awareness of war not as a completed event but as a still lasting state, which permeates, deforms and destroys people’s destinies as well as destinies of whole nations. In Medvedev’s novel those are mainly voices of young men, immediate participants of the turbulence, that are heard; in Abgaryan’s book those are voices of Armenian women, mothers, wives, and widows. Medvedev’s style is tougher and more dynamic, collision unfolding before our eyes. In Abgaryan’s story the plot is not that important: all key events were in the past, and characters are just recalling them. The code of the narrative discourse specified by the narrator’s type determines the stylistics of the text, the nature of action, the interpretation of events: they rapidly change one another by means of the efforts of the narrators who were placed in the centre of military and domestic conflicts in Medvedev’s novel. Abgaryan’s characters are slow and quiet, their long and difficult life gives them hard-won wisdom to accept reality as it is in its bitter completeness. Personal dramas of the characters are involved in the overall tragedy of the whole nation which goes beyond a specific era; this enables the author to reveal the ethno-cultural determinants of the narrative identity. Common grief can be overcome by means of love, work, patience and the cultural capital which manifests itself in people’s mentality and way of life and makes it possible for them to survive and gain a new cultural identity. Collective tragedy (social history), which opens to a reader through the characters’ destinies (personal narrative), becomes part of epic history (meta-narrative). This author’s strategy gives the stories told a timeless scale and ontological depth. The author declares no conflicts of interests.

Among the numerous travelogues describing southern Dalmatia, Dubrovnik, and its surroundings, the booklet called Lacroma merits special attention. Its author was the widowed Crown Princess Stephanie (1864-1945) and the illustrations were provided by Anton Perko, seascape painter at the court and the former governor of Lokrum. The first edition was published in 1892 in German, followed by an Italian one five years later. This article focuses on the first, German edition. Painter Anton Perko (1833-1905) stayed on the island of Lokrum from January 1879 until the beginning of 1881, with minor absences. The following year, he spent the entire winter on the island, and when the princely couple moved to Vienna, he also moved there in 1883. After the Mayerling drama, when Rudolf and his young mistress Marie Vetsera were found dead under mysterious circumstances, Perko’s life changed as well, yet he remained in the service of the widowed princess until 1896, when he retired. Anton Perko did not write an autobiography, but his important position in the royal household is evident from the fact that Stephanie and her daughter took care of his widow after his death in 1905. In 1892, a volume on Dalmatia was published as part of the complex work Die österreichisch-ungarische Monarchie in Wort und Bild, initiated by Prince Rudolf and continued by his widow Stephanie, which must have also inspired her to write a separate book on Lokrum with its rich historical, cultural, and natural heritage. Her description of Lokrum is intended for future tourists, potential visitors from the north, and introduces the reader to this insular Arcadia with descriptions of its position in southern Dalmatia and Dubrovnik, after which she turns to the history of Lokrum and its monuments, with reference to two written sources: the Apendius chronicle and the Memorie storiche sull’isola Lacroma, published in Vienna in 1861. Illustrations by Anton Perko are completely subjected to the text, eternalizing scenes described by Princess Stephanie and faithfully presenting the details that intrigued the author. The German version of Lacroma was published shortly before the end of Perko’s active life, spent largely next to the Crown Prince and his wife. It may thus be understood as a sort of sublimation for his work as the court secretary and painter. Sketches for the nineteen illustrations in the Lokrum booklet were probably made in the previous decades, while Perko was still the governor of the island. Among his works donated to the libraries of Dubrovnik, there are three drawing folders of small dimensions titled Lacroma and dated to 1879 and 1880 respectively, as well as a number of drawings and watercolours showing Lokrum’s landscapes. As a passionate sketcher, Perko must have made a far larger number of drawings on the island, but they must have been acquired by Stephanie after his death, which is why the Dubrovnik collection possesses only a small segment of his oeuvre. With its historical overview, descriptions of architecture and vegetation, and especially the contemporary details, this travelogue offers a precious insight into the appearance and life of the island in the 19th century. Especially valuable details include those referring to the interior of the summerhouse, inscriptions on the walls of the monastery, and Maximilian’s poetry, which Stephanie recorded preserving it from oblivion and making it available for a wider audience. Perko’s illustrations carefully follow the text, completely subjecting themselves to the author’s tone and introducing us to the solitude of island vistas and their hidden beauty in the conservative artistic tradition of the late 19th century. The painter has drawn with utter precision the architecture and the vistas of the island, the imperial residence, and the coastline, including the rare inhabitants in the serene solitude of their isolation, in the spirit of AustroHungarian Orientalism that he adhered to, yet he also gave us an image of the island that is nowadays almost unrecognizable owing to the rich vegetation. This paper analysis the textual and visual segments of the travelogue and their contribution to our knowledge of the island’s recent history, including the imperial residence and the natural resources.

Dostoevsky’s spirit is broken by a difficult childhood, years of imprisonment and forced military service in the difficult conditions of remote Russia, and the shackles of married life with the “sick, hysterical widow ”. Wandering through dreamy Europe made him aware of the attachment to the Russian homeland and revealed love and allusion of peace; he falls in love with Ana by dictating the text of the “Gambler ”, which will provide them with bread and shelter in the days of losing the gambling luck and questionable existence. In his wandering through Europe as the “land of holy wonders”, Dostoevsky informs us through the confessions of the gambler Alexei about the temptations of the “world” addicted to the gambling table. The significance of divisive passions is questioned: those towards women, love and even more, gambling, destructive, demonic. In 27 days while he was presenting Ana with the thoughts of the main character of the “Gambler ”, and she was recording them in a transcript, the writer was going through his own agony. The novel will see the light of day, but unlike Alexei, a character waiting for a new tomorrow to decide on ending a life driven by an unhealthy addictive habit, Dostoevsky, after the novel ends, experiences catharsis and sails into economic security by taking royalties for this and subsequent novels. As when after a stormy night at sea, a sunny morning dawns, a hint of love, happiness and the desired family peace is prayed to the author. Ana will focus the writer, a gambler, on family life and caring for children, and abduct him from addiction by sailing with him to the next “storm”. The basic theme of the novel – the obsession with gambling – is the experience of Dostoevsky, a writer with “a heart in which God and Satan fight, and the pledge is human life.” In the days when in the hustle and bustle of modern life, COVID-19, complete human alienation and escalation of violence we turn to the spiritual, looking for a way out in the metaphysical, surreal, healing and nurturing, andrational and explainable does not offer a final answer, someone seeks a way out of addiction and someone in a classic, something familiar and valuable. Or in metaphysics that goes beyond the physical and the knowable, in an attempt to reach the higher, the spiritual. The return to the great connoisseur of the human psyche, Dostoevsky, in a return to the interest in man, the inspiration of the human and the humane, but also the space behind knowable and the “metaphysical drama”. The idea of the French writer Albarez that for Dostoevsky, “in contrast to most other novelists, man is primarily not a biological, social, economic, psychological, but a metaphysical being”, becomes understandable.

This article offers a new reading of the story of the woman with the flow of blood in Mk 5:25–34 that focuses on the intersection of gender and social status. Moving away from gynaecological analysis, I use the representation of the anus ebria (drunken old woman) figure in Greco-Roman literature, drama, and art to explore how ancient readers might have responded to her conduct. Using this material, I argue that many readers would have understood the woman’s behaviour as conforming to this ancient type. The distinction is important, I contend, because, unlike widows, the anus ebria was an unsympathetic figure in ancient drama. This more intersectional reading of the woman’s social status, in turn, sharpens our reading of the revolutionary character of Jesus’s ministry in Mark.

"Death of the Squirrel Man" was written in 2006 and awarded the first honorary mention at the competition "ulrike.” It was staged twice: by Marcin Liber (2006), and by Natalia Korczakowska (2007). The text received a honorary mention uring the 13th Polish Competition for Staging of Contemporary Play organized by the Ministry of Culture and National Heritage. A slightly shortened version of the play was published by a theatre journal "Dialog” (2007, vol. 5). It was also made into a radio-play by Jan Klata. The play was translated into several foreign languages, among them English, German, Swedish, and Czech; it was published in a collection of European drama, entitled New Europe – Plays From the Continent (New York 2010).

Book is an effective communication tool that can be used to achieve different purposes, including gender equality; it is a complimentary medium to the mainstream media. Gender ine-quity is prevalent in the society, and this exposes women to a lot of discrimination that widens the dichotomy between them and their male counterparts, and invariably prevents the women-folk from participating and playing vital and supportive roles in developing the society. The agitation for gender equality and advocacy for women liberation is being carried out through various fronts, including books written in form of Drama, which is a very formidable force and a transformer of society; drama being a useful tool in national discourse and social commentary. Consequently, this study looked at Barclays Ayakoroma`s play (book), Dance on the grave, a drama that focuses on women`s agitation for a voice and equality with men in the society.This research work is anchored on the Muted Group Theory (MGT); and in order to pick and analyse the burning gender issues raised in the play, review and textual analyses were used as the qualitative research methods. In conclusion, this paper submitted that women are endowed with a lot of potentials that can contribute to the development of the society if they are not discriminated against, but that women must develop themselves in all aspects of life. It recommended, among others, that women should be protected from all forms of gender-based violence, and that more books that highlight the ills against women in the society should be written.

The everlasting tendency for the evil powers are prevailing still in this world no matter how much educational and moralistic institutions advocate following the righteous path guidance and doing good whenever man is exposed to hard human situations and experiences. Righteousness in every aspect of life leads nowhere but to safety, tranquility and clear conscience. Those who lack the latter representations are ready to sacrifice the moralistic principles and the elements of good for the path evil for the sake of fulfilling their mean devilish desires. The paper deals in the first place with those characters depicted by George Bernard Shaw that follow the path of evil in their daily lives for the sake of making a great amount of ill-gotten money possible, a great reputation, or any other disgraceful deeds to be achieved by any illegal way possible. Thus, the paper tackles those evil characters depicted in the dramatist’s play entitled Widowers’ Houses, which form one of the significant aspects of the axis of evil in his drama. This study unfolds the ways how those characters have been become evil and how the causes behind their unrighteous deeds have obliged them to be so. Key word: evil: as a noun it means wrong-doing or sin, and as an adjective it means harmful, bad or wicked

Rabindranath Tagore, a phenomenon, a name , a moulder of the thoughts of an entire nation, was an ambassador of the principles of human rights, specially in the field of women empowerment. long before many international and national instruments had been thought of Tagore in most of his creations, in his poetry, novels, plays, short stories had propagated the conception of women empowerment. Not only had he projected the wretched conditions of the women facing the worst forms of obstacles and hindrances but he also had conceived of the emancipation of women in all fields of life and has pleaded to get the women of his country. ntry educated and receive an opportunity to get themselves employed.Tagore in many of his creations has highlighted the issues of child marriage, child labour, dowry system, domestic violence, the lack of education and opportunities of employment, the horrible condition of the widows and in his later works he has portrayed some of the most bold, independent, intellectual females in many of his short stories, plays novels and dance dramas. The paper is a humble attempt in presenting Tagore's phenomenal reference to the principles of human rights specially in the field of women empowerment. It presents how Tagore through his plays, novels, short stories, paintings,his composition of music and even dance dramas and travelogue portrays various shades of the female gender and appeals to the highest ideologies of feminism. His efforts are so relevant that even in this generation of mechanical development and globalisation the impact of Rabindranath Tagore can never be forgotten. 1. Research Scholar, Department of Law, University of Burdwan Introduction :

A autora coloca-se em meio ao drama de reconhecer os limites da Razão e do Sujeito, ao tempo em que afirma sua convicção de que é válido manter as utopias de esquerda no bojo desta revisão de tudo. O texto passa em revista a complexidade das equações em que se situa o sujeito na trajetória de construção da liberdade - o binômio movimentos sociais versus classes, o desafio recentemente percebido do pacto de sustentabilidade com a natureza, o estabelecimento de bandeiras sociais e políticas especificas em pleno processo de globalização da economia. Este processo, se agudiza desigualdades, potencializa, por outro lado, a subversão de significados. Enfim, o tempo é novo em termos de desafio e renovado em termos de disposição. On the threshold of a new millennium: The author places herself in the middle of a drama to recognise the limits of Reason and the Subject, while affirming her conviction that the maintaining of leftist Utopias is valid in the centre of this revision. The text surveys the complexity of the equations in which the Subject is situated in the trajectory of the construction of Freedom - the binomial {social movements versus classes}, the recently perceived challenge of the pact of Preservation with Nature, and the establishment of specific social and political flags in the on-going globalization of the economy. This process, if it widens inequalities, on the other hand, empowers the subversion of meanings. Publicação Online do Caderno CRH: http://www.cadernocrh.ufba.br

The oeuvre of Zsigmond Kemény is confronted with several dilemmas of genre theory and practice when talking about the emergence of mixed genres, the growing “trend” of the novel, the artistic transmutation of aesthetically valued prose, and the changing tendencies of performing arts that reflect back upon stage writing which subvert the traditional hierarchy of genres. He recognizes that the precision of the novel can bear artistic values that create a possibility to preserve genre patterns and transfer certain genre functions. He makes it a writer’s program – using Kemény’s terminus technicus – to create the “dramatically structured novel”, setting out to rescue the aesthetic values of a deteriorating genre/form, while he is trying to create/stabilize a place in high poetry for a rising genre/form. At the same time, he is also undertaking an act of reception aesthetics and reading sociology by leading the receiver with a preference for reading novels who is becoming affected by the influences of performing arts back to reading drama. In the rich and continuous Kemény reception, the essay is targeting a not uncommon field. The new aspects of the text will examine two novels of Kemény (Pál Gyulai; The Widow and Her Daughter) and some critical works that were written between them (which is rather a long decade in the writer’s activity: 1845-1857) as the accomplished practice of the writer’s genre experiments.

Introduction In this paper, I examine the practices of representing Deaf ‘voices’’ to hearing audiences in two recent US television crime dramas. More literally I look at how American Sign Language is framed and made visible on the screen through various production decisions. Drawing examples from an episode of CSI: New York that aired in December 2006 and an episode of Law and Order: Criminal Intent that aired in April 2007, I examine how the practices of filming Deaf people and the use of American Sign Language intersect with the production of a Deaf ‘voice’ on the screen. The problem of representing a Deaf ‘voice’ on the screen is akin to the problem of representing other minority languages. Film and television producers in the United States have to make choices about whether the majority audience of English speakers will have access to the minority language or not. In the face of this dilemma media producers have taken several approaches: subtitling foreign speech, translating foreign speech through other characters, or leaving the language inaccessible except to those who use it. The additional difficulty with representing national sign languages is that both the language and the recording medium are visual. Sometimes, filmmakers make the choice of leaving some portions of the signed dialogue inaccessible to a non-signing hearing audience. On the one hand this choice could indicate a devaluing of the signed communication, as its specific content is considered irrelevant to the plot. On the other hand it could indicate that Deaf people have a right to be visible on television using their own language without accommodating hearing people. A number of choices made in the filming and editing can subtly undermine positive representations of Deaf ‘voices’ particularly to a Deaf audience. These choices often construct an image of sign languages as objectified, exoticised, disjointed, incomplete, or a code for spoken language. Simple choices such as using simultaneous speaking and signing by Deaf characters, cropping the scene, translating or not translating the dialogue have powerful implications for the ways that Deaf ‘voices’ are becoming more visible in the 21st century. Typical filming and editing conventions effectively silence the Deaf ‘voice.’ Over 20 years ago, in the comprehensive book, Hollywood Speaks: Deafness and the Film Entertainment Industry (1988), Schuchman’s complaint that the filming and editing techniques of the day often did not attend to preserving the visibility and comprehensibility of sign language eon the screen, still applies today. As editing techniques have evolved over the years, fr om reliance on wide and medium shots to frequent intercutting of close-ups, the tendency to cut sign language off the screen, and out of the comprehensible view of the audience, may have even increased. Recent Portrayals of Deaf People on Television During one television season in the United States between August 2006 and April 2007, 30 episodes of six different serial television programs portrayed signing Deaf characters. Three of these programs had on-going Deaf characters that appeared in a number of episodes throughout the season, while three other programs portrayed Deaf people in a one-off episode with a Deaf theme. Initial air date for the season Program and Season # of Episodes 1 14 Aug. 2006 Weeds, Season 2 5 2 20 Sep. 2006 Jericho, Season 1 13 3 28 Jan. 2007 The L Word, Season 4 9 Table 1. Dramas with Ongoing Deaf Characters during the 2006-2007 USA Television Season Initial air date Program, Season, Episode Episode Title 1 13 Dec. 2006 CSI: New York, Season 3, Episode 12 “Silent Night” 2 3 Apr. 2007 Law and Order: Criminal Intent, Season 6, Episode 18 "Silencer" 3 12 Apr. 2007 Scrubs, Season 6, Episode 16 “My Words of Wisdom” Table 2. One-off Episodes with Signing Deaf Characters during the 2006-2007 USA Television Seasons Ironically, although the shows with ongoing characters sometimes allow the Deafness of the character to be incidental to the character, it is only the one-off crime dramas that show Deaf people relating with one another as members of a vibrant community and culture based in sign language. Often, in the ongoing series, the characters remain isolated from the Deaf community and their interactions with other Deaf people are sparse or non-existent. For example, out of the 27 episodes with an ongoing Deaf character only two episodes of The L-Word have more than one Deaf character portrayed. In both Weeds and The L-Word the Deaf character is the love interest of one of the hearing characters, while in Jericho, the Deaf character is the sister of one of the main hearing characters. In these episodes though some of realities about Deaf people’s lives are touched on as they relate to the hearing characters, the reality of signing Deaf people’s social lives in the Deaf community is left absent and they are depicted primarily interacting with hearing people. The two episodes, from CSI: New York, and Law and Order: Criminal Intent, focus on the controversial theme of cochlear implants in the Deaf community. Though it is true that generally the signing Deaf community in the U.S.A. sees cochlear implants as a threat to their community, there is no record of this controversy ever motivating violent criminal acts or murder as portrayed in these episodes. In the episode of CSI: New York entitled “Silent Night” a conflict between a young Deaf man and Deaf woman who were formerly romantically involved is portrayed. The murdered young woman who comes from a Deaf family does not want her Deaf baby to have a cochlear implant while the killer ex-boyfriend who has a cochlear implant believes that it is the best option for his child. The woman’s Deaf parents are involved in the investigation. The episode of Law and Order: Criminal Intent, entitled “Silencer,” is also ultimately about a conflict between a Deaf man and a Deaf woman over cochlear implants. In the end, it is revealed that the Deaf woman is exploring the possibility of a cochlear implant. Her boyfriend projecting the past hurt of his hearing sister leaving him behind to go off and live her own life, doesn’t want his girlfriend to leave him once she gains more hearing. So he shoots the cochlear implant surgeon in the hand to prevent him from being able to perform the surgery. Then he accidentally kills him by crushing his voice box to prevent him from screaming. Analyzing Two Crime Dramas In both television dramas, the filmmakers use both sound and video editing techniques to mark the experiential difference between hearing and Deaf characters. In comparing the two dramas two techniques are evident : muting/distorting sounds and extreme close-ups on lips talking or hands signing. Though these techniques may heighten awareness of deaf experience to a non-signing audience they also point to a disabling stereotyping of the experience of being Deaf as lacking — framing their experience as hearing loss rather than Deaf gain (Bauman & Murray; Shakespeare 199). By objectifying sign language through extreme close ups American Sign Language is portrayed as something strange and unusual that separates Deaf signers from hearing speakers. The auditory silences can either jolt the hearing non-signer into awareness of the sensory aspect of sound that is missing or it can jolt them into awareness of the visual world that they often don’t really see. In the opening few scenes of the episodes both CSI: New York and Law and Order: Criminal Intent use sound editing alternately muting or distorting sounds as they cut between a ‘deaf’ auditory perspective and a ‘hearing’ perspective on the action as it unfolds. Even though the sound editing does play a part in the portrayal of Deaf people’s experience as lacking sound, the more important aspects of film production to attend to are the visual aspects where Deaf people are seen authentically signing in their own language. Scene Analysis Methodology In taking a closer look at a scene from each episode we can see exactly how the filming and editing techniques work to create an image of sign language. I have chosen comparable scenes where a Deaf individual is interviewed or interrogated by the police using a sign language interpreter. In each scene it can be assumed that all the communication is happening in both English and ASL through an interpreter, so at all times some signing should be occurring. In transcribing the scenes, I noted each point when the editor spliced different camera shots adjacent to each other. Because of the different visual aesthetics in each program where one relied heavily on continuous panning shots, I also noted where the camera shifted focus from one character to another marking the duration of screen time for each character. This allowed for a better comparison between the two programs. In my transcripts, I included both glosses of the ASL signs visible on the screen as well as the flow of the spoken English on the audio track. This enabled me to count how many separate shifts in character screen time segments contained signing and how much of these contained completely visible signing in medium shots. CSI:NY Witness Interview Scene In the first signing scene, Gina (played by Marlee Matlin) is brought in for an interview with Detective Taylor and a uniformed officer interpreter. The scene opens with a medium shot on Detective Taylor as he asks her, “What do you think woke you up?” The shot cuts to an extreme close up of her face and hands and pans to only the hands as she signs FOOTSTEPS. Then the scene shifts to an over the shoulder medium shot of the interpreter where we can still see her signing VIBRATIONS and it cuts to a close up of her face as she signs ALISON NOISE. Though these signs are cropped, they are still decipherable as they happen near the face. Throughout this sequence the interpreter voices “Footsteps, I felt vibrations. I thought maybe it was Alison.” Next we have a close-up on Detective Taylor’s face as he asks her why her family moved and whether she had family in the area. During his question the camera shifts to a close up reaction of Gina listening and then back to a close up on Taylor’s face, and then to a medium shot of the interpreter translating the last part of the question. Next, while Gina responds the camera quickly cuts from a medium shot to a close-up side view of the hands to a close-up bird’s eye view of the hands to a close up of Gina’s face with most of the signs outside of the frame. See the transcript below: [medium shot] NOT PLAN HAVE MORE CHILDREN,[close-up side view of hands] PREGNANT,[close-up from bird’s eye view] DECIDE RAISE ELIZABETH[close-up Gina’s face signs out of frame] SAFE While this sequence plays out the interpreter voices, “My husband and I weren’t planning on having any more children. When I got pregnant my husband and I decided to raise Elizabeth outside of the city where it’s safe.” The kind of quick cuts between close-ups, medium shots and reaction shots of other characters sets the visual aesthetic for this episode of CSI: NY. In this particular clip, the camera shifts shot angles no less than 50 times in the space of one minute and 34 seconds. Yet there are only 12 conversational turns back and forth between the two characters. This makes for a number of intercut reaction shots, interpreter shots as well as close-ups and other angles on the same character. If only counting shifts in screen time on a particular character, there are still 37 shifts in focus between different characters during the scene. Out of the 22 shots that contain some element of signing — we only see a medium shot with all of the signing space visible 4 times for approximately 2 seconds each. Even though signing is occurring during every communication via the interpreter or Gina, less than half of the shots contain signs and 18 of these are close ups from various angles. The close ups in this clip varied from close-ups on the face, which cut out part of the signs, to close ups on the hands caught in different perspectives from a front, side, top or even table top reflected upside-down view. Some of the other shots were over the back shoulder of Gina catching a rear view of the signs as the camera is aimed in a medium shot of the detective and interpreter. The overall result from a signing perspective is a disjointed jumble of signs leaving the impression of chaos and heightened emotion. In some ways this can be seen as an exoticisation of the signs making them look surreal, drawing attention to the body parts displaying the signs and objectifying them. Such objectification may seem harmless to a non-signing hearing audience or media producer as a mere materializing of the felt amazement at signed communication moving at such a pace. But if we were to propose a hypothetical parallel situation where a Korean character is speaking in her native tongue and we are shown extreme close ups and quick cuts jumping from an image of the lips moving to the tongue tapping the teeth to a side close up of the mouth to an overhead image from the top of the head – this type of portrayal would immediately be felt to be a de-humanization of Korean people and likely labeled racist. In the case of sign language, is it merely thought of as visual artistry? Law & Order: Suspect Interrogation Scene Law & Order: Criminal Intent has a different film aesthetic. The scene selected is an interview with a potential suspect in the murder of a cochlear implant surgeon. The Deaf man, Larry is an activist and playwright. He is sitting at a table with his lawyer across from the male detective, Goren, and the interpreter with the female detective, Eames, standing to the side. Unlike the CSI: NY scene there are no quick cuts between shots. Instead the camera takes longer shots panning around the table. Even when there are cuts to slightly different angles, the camera continues to pan in the same direction as the previous shot giving the illusion that almost the entire scene is one shot. In this 45-second scene, there are only five cuts to different camera angles. However, the act of panning the camera around the room even in a continuous shot serves to break up the scene further as the camera pulls focus zooming in on different characters while it pans. For the purposes of this analysis, in addition to dividing the scene at shifts in camera angles performed through editing, I also divide the scenes at shifts in camera angles focusing on different characters. As the camera moves to focus on a different interlocutor (serving the same purpose as a shift done through editing), this brings the total shifts in camera angles to ten. At several points throughout this Law & Order: CI episode, the cinematographer uses the technique of zooming into an extreme close-up on the hands and then pulling out to see the signer. But in this particular scene all of the visible signed sequences are filmed in medium shots. While this is positive because we can actually see the whole message including hand and face, the act of panning behind the backs of seated characters while Larry is signing blocks some of his message just as much as shifting the edit to a reaction shot would do. Of the ten shots, only one shot does not contain any signing: when Detective Eames reacts to Larry’s demands and incredulously says, “A Deaf cop?” While all of the other shots contain some signing, there are only two signed interchanges that are not interrupted by some sort of body block. Ironically, both of these shots are when the hearing detective is speaking. The first is the opening shot. The camera, in a wide shot on 5 characters, opens on their reflections in the mirrored window located in the interview room. As the camera pulls back into the room, it spins around and pans across Detective Eames’ face to settle on Detective Goran. While Goran begins talking the shot widens out to include the interpreter sitting next to him and catch the signed translation. Goran says, “Larry? There’s a lot of people pointing their finger at you.” With a bit of lag time the interpreter signs: A-LOT PEOPLE THINK YOU GUILTY. Overall Comparison of the Two Scenes For both scenes there were only four segments with unobstructed medium shots of signers in the act of signing. In the case of Law & Order: CI this might be considered a good showing as there were only nine segments in the entire scene and 8 contained signing. Thus potentially yielding 50% visibility of the signs during the entire stream of the conversation (however not all signs were actually fully visible). In the case of CSI: NY, with its higher ratio of segments split by different camera shots, 22 segments contained signing, yielding a ratio of 18% visibility of signs. Though this analysis is limited to only one scene for comparison it does reveal that both episodes prioritize the spoken language stream of information over the sign language stream of information. CSI: New York Law & Order: CI Time duration of the clip 1 min 34 sec 45 sec # shifts in character conversational turns 12 times 10 times # edited camera shots to different angle 50 5 #shifts in screen time of the characters (edited or panned) 37 9 Total # screen time segments with signing 22 8 # medium shot segments with signing fully visible 4 4 # segments containing close ups of signs, cropped off signs or blocked 18 4 Table 3. Count comparison between the two scenes Filmmakers come from a hearing framework of film production where language equals sound on an audio track. Within that framework sound editing is separate from video editing and can provide continuity between disjointed visual shots. But this kind of reliance on sound to provide the linguistic continuity fails when confronted with representing American Sign Language on the screen. The sound stream of translated English words may provide continuity for the hearing audience, but if left to rely on what is available in the visual modality Deaf viewers may have to rely on closed captioning to understand the dialog even when it is portrayed in their own language. Disjointed scenes showing quick cuts between different angles on a signed dialog and flashing between reacting interlocutors leaves the signing audience with a view on a silenced protagonist. Recommendations How can media producers give voice to sign language on the screen? First there needs to be an awareness and concern amongst these same media producers that there is actually value in taking the care required to make sign language visible and accessible to the signing Deaf audience and perhaps raise more awareness among the non-signing hearing audience. It may be entirely possible to maintain a similar visual aesthetic to the programs and still make sign language visible. Hearing producers could learn from Deaf cinema and the techniques being developed there by emerging Deaf film producers (Christie, Durr, and Wilkins). In both examples used above careful planning and choreography of the filming and editing of the scenes would make this possible. With the quick cutting style of frequent close up shots found in CSI: NY, it would be necessary to reduce the number of close ups or make sure they were wide enough to include enough of the signs to maintain intelligibility as with signs that are made near the face. In addition, medium shots of the interpreter or the interpreter and the hearing speaker would have to become the norm in order to make the interpreted spoken language accessible as well. Over the shoulder shots of signers are possible as well, as long as the back of the signer does not obscure understanding of the signs. In order to avoid objectification of sign language, extreme close-ups of the hands should be avoided as it de-humanizes sign languages and reduces language to animalistic hand gestures. In addition, with adopting the visual aesthetic of panning continuous shots such as those found in Law and Order: CI, care would need to be taken not to obstruct the signs while circling behind other participants. Other possibilities remain such as adapting the visual aesthetic of 24 (another United States crime drama) where multiple shots taking place simultaneously are projected onto the screen. In this manner reaction shots and full shots of the signing can both be visible simultaneously. Aside from careful choreography, as suggested in previous work by scholars of Deaf cinema, (Schuchman, Hollywood; Jane Norman qtd. in Hartzell), hearing media producers would need to rely on excellent ASL/Deaf culture informants during all stages of the production; typically, cinematographers, directors and editors likely will not know how to make sure that signs are not obscured. Simultaneous signing and talking by Deaf and hearing characters should be avoided as this method of communication only confirms in the minds of hearing signers that sign language is merely a code for spoken language and not a language in and of itself. Instead, hearing media producers can more creatively rely on interpreters in mixed settings or subtitling when conversations occur between Deaf characters. Subtitling is already a marker for foreign language and may alert non-signing hearing audiences to the fact that sign language is a full language not merely a code for English. Using these kinds of techniques as a matter of policy when filming signing Deaf people will enable the signing voice some of the visibility that the Deaf community desires. Acknowledgements This article is based on work originally presented at the conference “Deaf Studies Today!”, April 2008, at Utah Valley State University in Orem, Utah, USA. I am grateful for feedback that I received from participants at this presentation. An earlier version of this article is published as part of the conference proceedings Deaf Studies Today! Mosaic edited by Brian K. Eldredge, Flavia Fleischer, and Douglas Stringham. References Bauman, H-Dirksen, and Joseph Murray. "Reframing from Hearing Loss to Deaf Gain." Deaf Studies Digital Journal (Fall 2009). < http://dsdj.gallaudet.edu/ >. Chaiken, Ilene (writer). The L Word. Television series. Season 4. 2007. Chbosky, S., J. Schaer, and J.E. Steinbert (creators) Jericho. Television series. Season 1 & 2. 2006-2007. 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