Gotowe bibliografie tematyczne / Drama

Gotowa bibliografia na temat „Drama”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 7 września 2024

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Artykuły w czasopismach na temat "Drama"

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Hadžiefendić-Parić, Remzija. "ISAKOVIĆEVA DRAMA „HASANAGINICA“ I NJEGOV „RJEČNIK KARAKTERISTIČNE LEKSIKE U BOSANSKOME JEZIKU“". Zbornik radova Islamskog pedagoškog fakulteta u Bihaću 11, nr 11 (25.12.2019): 161–87. http://dx.doi.org/10.52535/27441695.2019.11.161-187.

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U radu je fokus na leksičkom sastavu Isakovićeve drame Hasanaginica (1982) s obzirom na postupke izdvajanja i tumačenje leksike u njegovom Rječniku karakteristične leksike u bosanskome jeziku (1991). Cilj je utvrditi odnos riječi u drami Hasanaginica i leksema uvrštenih u Rječnik – s polaznom pretpostavkom da postoji određena podudarnost u njihovom izboru, formi i značenju, pri čemu se ne gubi iz vida da su u pitanju dva posve različita tipa tekstova, vrsno i žanrovski, dva stila - književnoumjetnički (drama, tragedija) i primijenjeno naučni (rječnik, jednojezički), što za sobom povlači niz bitnih, međusobno suprotstavljenih distinkcija na planu leksike i njenog funkcioniranja u tekstu premda su i jedno i drugo, drama i rječnik, 'jeziku metajezici' (usp. Peti, 1995: 103), jedno in preasentia (drama), drugo in absentia (rječnik). U analizi se dakle polazi od toga da dramu i rječnik čine komponente različite strukturno (s obzirom na mjesto u tekstu), formalno (s obzirom na način pisanja), funkcionalno (s obzirom na uloge u 'drugostepenom modelativnom sistemu' i u leksikografskom djelu) i jezičkostilski (s obzirom na vrijednosti i efekte). Koliko mi je poznato, za ovu temu do sada nije bilo naučnih zanimanja niti je bilo istraživanja o njoj. U radu sam se zadržala samo na određenim riječima iz drame preko kojih se mogu pratiti i u konačnici prepoznati bitne konture odnosa drame i Rječnika sa aspekta koji je odabran u ovom radu.
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Ognjenović, Svjetlana. "„POLITIKA STILA“ KERIL ČERČIL: KRITIKA KAPITALIZMA I NEOLIBERALNOG FEMINIZMA NA PRIMJERU DRAME FEN (1983)". Philologia Mediana 16, nr 16 (6.06.2024): 213–27. http://dx.doi.org/10.46630/phm.16.2024.14.

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Drama Fen nastala je nakon drame top djevojke, koja važi za najpoznatiju feministič- ku dramu Keril Čerčil i tematski je nadopunjuje. Dok u prethodnoj drami Keril Čerčil prikazuje žene na vrhu društvene ljestvice, u ovoj drami ona se bavi isključivo ženama koje se nalaze na društvenom dnu. Ovo je drama o ženama koje nisu predmet pažnje ni feministkinja, a ni tzv. Novih ljevičara, čiji je pokret smišljen da bi diskvalifikovao prvobitnu marksističku Ljevicu, i koje su prepuštene isključivo vlastitim nastojanjima da prežive dan. Da bi prikazala isprazne i teške živote ovih žena zaglibljenih u baruštinama istočne Engleske, Keril Čerčil kombinuje mnogobrojne pozorišne tehnike čija raznovrsnost ovu dramu čini jedinstvenom. Tako autor- ka njenim uobičajnim strategijama epskog teatra pridodaje tehnike eksperimentalnog teatra, kao i nove dokumentarističke tehnike usavršene tokom saradnje sa pozorišnom trupom joint Stock Company. Brehtova tipologija i efekat otuđenja samo su neke of tehnika kojima je autorka uspjela da istorizuje pojave o kojima piše i ukaže gledaocima na kontinuiranu zloupotrebu moći i podjarmljivanje širokih narodnih masa od strane kapitalističkih tiranina. S druge strane, njeno insistiranje na emocionalnom angažmanu i empatiji ukazuje da samo sprega emocije i razumije- vanja može dovesti do toliko željene revolucionarne promjene u zapadnom društvu. Pored kri- tike kapitalizma i cjelokupne zapadne ideologije moći i eksploatacije, u ovoj drami Keril Čerčil takođe aludira na nedovoljnosti i nedostatke liberalnog feminizma koji ona suštinski tumači kao ideološku podkategoriju patrijarhalno-kapitalističkog sistema.
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Kim, Jooyon. "A Study of Applying Story Drama for Dramatic Inquiry". Korean Association For Learner-Centered Curriculum And Instruction 23, nr 9 (15.05.2023): 137–52. http://dx.doi.org/10.22251/jlcci.2023.23.9.137.

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Objectives In this study, the concept of ‘drama inquiry’ was revealed, the method of applying story dramas was explored, and the process realized in actual classes was analyzed. Methods To this end, a literature study on ‘drama inquiry’ and ‘story drama’ was conducted, and story drama was applied to six participant teachers. The aspect of ‘drama inquiry’ being implemented through story dramas was analyzed. Results As a result of applying story dramas to six participants, it was found that ‘drama inquiry’ was possible. Participants constructed new generative meanings through dialogue with other participants which they could not construct before. Conclusions ‘Drama inquiry’ is a unique way of constructing meaning that can be realized in a drama, and its feasibility increases when applied through story dramas. Various situations or issues of story dramas provide materials for ‘drama inquiry’, especially story dramas that enable participants to construct metaphorical meanings help operate ‘drama inquiry’ efficiently.
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Strejčková, Hana. "Ambientalna avtorska drama". Amfiteater 9, nr 2021-2 (30.06.2022): 230–32. http://dx.doi.org/10.51937/amfiteater-2022-1/230-232.

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Prispevek obravnava vlogo dramatikov v sodobni ambientalni drami ter vlogo režiserjev ambientalnih uprizoritev. Raziskava se osredotoča na tri poglavitna področja: na avtorsko dramo, ki temelji na novejši zgodovini dvajsetega stoletja; na performativni potencial skupnosti in ustne zgodovine ter na sodobno ambientalno dramo. Kot dramatičarka se avtorica osredotoča na spomine in družbene tabujske teme, kot režiserka pa raziskuje pristope, kako spomine na kraje, zbirke podatkov iz ustne zgodovine ter pereča vprašanja preoblikovati v gledališki jezik. Preučuje razmerja med dramatiki in ambientalnimi uprizoritvami. Opazuje povezave med temo, sredstvi komunikacije in negledališkimi prostori. Longitudinalna kvalitativna umetniška raziskava temelji na izkušnjah iz gledališke prakse, analizi in primerjavi teoretskega znanja. Avtorica navaja primere avtorskih iger in poročil o njihovih uprizoritvah, konkretno gre za naslednje drame: Polnoč v obmejnem prostoru (3./4. maj 1950, samostan), Trije stoli (Alzheimerjeva bolezen, dom upokojencev), Od Majdalenke do Madle (druga svetovna vojna, klet) in Hotel na vogalu (1932–1989, stara gledališka stavba). Raziskava izpostavlja potrebo po ustvarjalnem in pozornem pristopu avtorjev –dramatikov, dramaturgov in režiserjev – da lahko iz dualnosti običajnega in tabujskega ustvarijo povsem nov svet. Kombinacija močne teme, nenavadne lokacije, povezane s temo drame, in participativne vloge (aktivne/pasivne) občinstva se lahko izkaže za učinkovito strategijo in celo za »taktiko« krepitve avtorjeve vloge v drami po letu 2000.
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Lee, Sin-Bok. "The Effect of the Characteristics of the Drama based on the Webtoon on the Attitude and Behavior of the Viewer". International Journal of Membrane Science and Technology 10, nr 1 (1.06.2023): 261–73. http://dx.doi.org/10.15379/ijmst.v10i1.1454.

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Recently, dramas based on webtoons are gaining popularity. The reason is that dramas which are based on webtoons is not only highly recognized but also have a strong story, so there is a high probability that they can succeed as a masterpiece drama. In this study, based on previous studies on the characteristics of the dramas which are based on webtoons, we tried to investigate how the attitude of drama viewers and the behavior of drama viewers can change, by confirming the characteristics of the dramas based on the webtoons. For our study, we distributed and collected 252 questionnaires filled out from September 1 to September 14, 2022 to adult men and women in their 20s and 30s. The results of this study are summarized as follows. First, among the characteristics of the dramas which were based on webtoons, the reputation of the original work, or webtoons, had a positive effect on the satisfaction of drama viewers, but it had no effect on flow of the drama viewers. Second, among the characteristics of the drama in which the webtoon is the original work, the suitability of original work and drama imaqge and the suitability of actor casting were found to have a positive effect on both satisfaction and flow of drama users.Third, among the characteristics of the dramas which were based on webtoons, it was found that the platform characteristics had no effect on both satisfaction and flow of drama viewers. Finally, it was found that the satisfaction and flow of drama viewers had a positive effect on all behaviors of the drama viewers.
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Elia, Fabrizio, Francesco Panero, Vincenzo Crupi i Franco Aprà. "Drama of medical dramas". Postgraduate Medical Journal 94, nr 1114 (16.05.2018): 477. http://dx.doi.org/10.1136/postgradmedj-2018-135723.

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B, Vijayakumar. "A Comparative Analysis of Tamil and Assamese Dramatic Tradition". International Research Journal of Tamil 4, nr 2 (1.02.2022): 1–8. http://dx.doi.org/10.34256/irjt2221.

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The article is to trace the heritage of Tamil and Assamese drama earliest times to present. The sub-genre of different periods is also discussed herewith. Earliest record of Tamil drama is available during Sangam period. In Assamese it is mentioned in the Sankaradev period. Sankardeva the father of Assamese literature and society maker had a great contribution to Assamese drama. ‘Chihno Jatra’ was the first drama of Assamese literature. To speed up his ‘Ek Saran’ religion he wrote many dramas as an instrument of it and his followers also followed him. In the end of the nineteenth century Tamil and Assamese drama underwent a change after its contact with western literature. Hence the Tamil drama can be divided into four periods. (1) Tolkappiyam to 16th century, (2) drama in the 17th,18th century, (3) 19th century, and (4) 20th century. Assamese drama can be classified as (1) Vaisavate period, (2) Ahom period, (3) modern period. Many authors wrote ancient, historical and modern dramas in both languages. All those dramas are taken as the very great wealth of Tamil and Assamese literature.
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Maryam, Siti. "STUDI KOMPARASI EMIK DAN ETIK MASYARAKAT TERHADAP MENJAMURNYA TAYANGAN DRAMA ASING DI INDONESIA: KAJIAN ANTROPOLOGI KONTEMPORER". GENTA BAHTERA: Jurnal Ilmiah Kebahasaan dan Kesastraan 3, nr 1 (7.05.2018): 91–105. http://dx.doi.org/10.47269/gb.v3i1.8.

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AbstrakBahasa merupakan suatu hal yang telah membuat manusia menjadi makhluk istimewa. Sejak lahir, setiap manusia telah dibekali dengan alat akuisisi bahasa yang sering diistilahkan dengan Language Acquisition Device (LAD). Seiring dengan berkembangnya zaman dan teknologi yang semakin maju, semakin berkembang pula dunia perfilman di setiap negara, terutama negara India, Korea, Amerika Latin, Filipina, dan Turki. Seperti yang kita lihat, belakangan ini sekitar tahun 2014 sampai sekarang, drama-drama India, Korea, Amerika Latin, Filipina, dan Turki yang sedang marak di layar kaca Indonesia. Dalam hal ini, karena semakin maraknya drama-drama luar, maka banyak sekali pengaruh yang ditimbulkan drama-drama tersebut kepada masyarakat Indonesia terutama para remaja, misalnya karena sering menonton drama Korea mereka jadi mengikuti gaya bicara, berpakaian, dan bahasanya seperti, Annyeong Haseyo (Hallo), Gamsamhamnida (Terima Kasih), Mianhae (Maaf), dan masih banyak lagi. Hal serupa juga sama dilakukan bagi masyarakat yang menyukai drama India, Amerika Latin, Filipina, dan Turki. Tidak disangka dari drama tersebutlah budaya dari negara-negara tersebut jadi semakin dikenal oleh bangsa Indonesia. Oleh karena itu, dianggap penting untuk melakukan kajian tentang persepsi masyarakat terkait menjamurnya drama asing di Indonesia sebagai bahan informasi untuk menambah wawasan masyarakat. Adapun drama yang dimaksud terwujud dalam bentuk film, sebab antara film dengan drama memiliki persamaan terutama dalam ihwal bentuk tayangan dan konten yang disajikan. Hal tersebut yang menyebabkan terjadinya berbagai persepsi di tengah masyarakat yang menikmatinya. Kata kunci: komparasi, emik dan etik, drama asing, antropologi kontemporer AbstractLanguage is something that has made human a special being. Since birth, every human has been equipped with language acquisition tools that are often called the Language Acquisition Device (LAD). Along with the development of the era and the progress of technology, the more developed the world of cinema in every country, especially India, Korea, Latin America, Philippines, and Turkey. As we see, lately around 2014 until now, the dramas of India, Korea, Latin America, Philippines, and Turkey are often broadcasted on the Indonesian television. In this case, since the increase of the widespread of foreign dramas, many influences caused by those dramas to Indonesian, especially the teenagers. For instance because of watching Korean dramas, the youth follow the style of speech, dressing, and language like, Annyeong Haseyo (Hallo), Gamsamhamnida (Thank You), Mianhae (Sorry), and so on. The same is also true for people who love India, Latin America, Philippines, and Turkey dramas. Unexpectedly, based on those dramas, the culture of those countries become increasingly recognized by Indonesian people. Therefore, it is considered important to conduct a study on public perceptions related to the proliferation of foreign dramas in Indonesia as an information material to increase community insight. About dramas is being in the film, causes between film and dramas having the same is the structure of showing and content. That’s same be the caused of perception variated in the people community. Key words: comparation, emik and ethics, foreign drama, contemporary anthropology
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Li, Ya, i Ho Young Yoon. "Cultural differences in color between countries viewed as Korean-Japanese dramas: Focusing on the color scheme of five remake dramas". Korean Data Analysis Society 25, nr 1 (28.02.2023): 445–56. http://dx.doi.org/10.37727/jkdas.2022.25.1.445.

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This study examines the colors of identical scenes from five remakes and the five original Korean-Japanese drama, by mixing the country of the origin. In doing so, this study analyzes colors difference of TV drama by production countries. The comparison between the originals and the remakes is conditioning the storyline, genre and plot. Thus, the detailed color difference between Korean and Japanese dramas lies in the production style for cultural contents, instead of contents differences. According to the study's findings, colors with similar hues were favoured in both Korea and Japan, however the Japanese preference tended to be stronger. The chromaticity and brightness color combinations are contrasted between Korea and Japan. In cotrast to Korea, the contrast color combination of chroma and the similar color combination of brightness were more frequent in Japanese drams, which is the opposite to Korean dramas that the contrast combination is more prevalent in brightness measure and similar color combination in chroma measure. The study has demonstrated the need for more research into the appealing power of Korean dramas by comparing color combinations between countries.
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Farooq, Ummar, i Abdul Hameed Shahwani. "پی ٹی وی کوئٹہ؛ براہوئی و بلوچی ڈرامہ غاک". Al-Burz 8, nr 1 (20.12.2016): 45–60. http://dx.doi.org/10.54781/abz.v8i1.145.

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This research article refers the Brahui and Balochi dramas telecasted from the Pakistan Television Quetta Centre. This article tells how and when the drama in these both languages got started it further leads that in folk literature of both the languages did the genre of drama had any presence or not. In spite of the dramas telecasted by PTV Quetta Centre Balochi short films made at private sector are also discussed. The main purpose of this article is to collect the scattered material of the Brahui and Balochi dramas and to present them for the new researchers of drama.
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Rozprawy doktorskie na temat "Drama"

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Narasaki, Roxanne. "Drama". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/220.

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Blewitt, David. "Drama in Tudor education : education in Tudor drama". Thesis, University of Bristol, 1986. http://hdl.handle.net/1983/9c1050cb-a734-4151-b3f4-63ff22554368.

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The present work argues for the invaluable contribution of boy actors to the evolution of Tudor drama. Since most young scholars later went up to university or the'Inns of Court, I have also considered the course of drama in those institutions. This drama in education was given its prime impetus by visiting professional troupes, whose itineraries included schools, universities and the Inns. The education in drama they set before their audiences helped shape the schools drama, which was able to develop and expand in a way denied the professionals by the consequences of the Reformation. Not till Leicester's men established themselves at the Theater were the professionals enabled once again to strive towards their eventual pre-eminence. The argument in those'sections dealing with the colleges of Winchester, Eton and Westminster is supported by original archival material hitherto unavailable in print. The Introduction states the situation at the moment of the foundation of the Theater and of the first Blackfriars. That significant moment marked the beginnings of the decline in the fortunes of the forces of drama in education. The prehistory is rooted in the broad educational changes of the late fifteenth and early sixteenth centuries (Chapter I) and in the seminal effect upon the drama of the sermons of the mendicant preachers of the later Middle Ages (Chapter I). These twin influences forged the drama of pre-Reformation England, defined the roles of professionals and boys alike (Chapter II).
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Lee, Doyoung. "Drama, severely". The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327941446.

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Nweba, Lena. "Characterisation in isiXhosa drama with specific reference to two isiXhosa dramas". Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49878.

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Thesis (MA)--Stellenbosch University, 2004.
ENGLISH ABSTRACT: The main aim of study is to investigate characterisation in two of Ngewu's dramas. Ngewu's dramas are contemporary and many scholars have not yet had time to research them. The story in the drama Amadada la afunani ezintsaneni ?( 1998), is about the sexual abuse of children. This is new because the abuse of small children is not seen to indicate culture especially now that even fathers abuse their children. In the olden days children used to look to grown -ups for protection of every kind. The story in the second drama Yeha Mfazi Obulala Indada (1997) , is about a wife who hires assassins to kill her husband. In the past wives were submissive to their husbands. It was unheard of a wife challenging the husband's authority, let alone hiring assassins to kill him. Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the plot structure of the dramas Amadada la afunani ezintsaneni? (1998) and Yeha Mfazi Obulala Indada (1997) Chapter 3 deals with characterisation in isiXhosa dramas, Amadada la afunani ezintsaneni(1998) and Yeha Mfazi Obulala lndoda (1997) Chapter 4 deals with language and the pattern of stylistic devices Chapter 5 concludes the findings of the study.
AFRIKAANSE OPSOMMING: Die hoofdoel van hierdie studie is om die karakterisering in twee van Ngewu se dramas te ondersoek. Ngewu se dramas is hedendaagse daarom is daar nog veel navorsing daaroor ezintsaneni (1998) gedoen nie. Die storie in die drama Amadoda la afunani handel hoofsaaklik oor die seksuele molestering van kinders. Seksuele kindemolestering is In relatiewe nuwe versknser want dit is taboe in kultuur veral nou dat die bekend is dat kinders deur hulle vaders gemolesteer word. In vroeer jare was kinders van volwassens afhanklik vir beskermering en welvaart. Die tweede drama Yeha Mfazi Obulala lndoda (1997) handeloor I vrou wat sluipmoordenaars huur om haar man om die lewe te bring. In vroeer jare was vroue aan hul mans onderdaning. Dit was ongewoon dat I vrou haar man se gesag sou ondermyn, en nog meer ondenkbaar die huur van sluipmoordenaars om hom om die lewe te bring. In hoofstuk 1 vind ons die doel van die studie, die omvang ,teoretiese raamwerk en metode van die studie. Hoofstuk 2 handeloor die struktuur van die twee Amadoda la afunani ezintsaneni (1998) en Yeha Mfazi Obulala Indoda ( 1997) Hoofstuk 3 handeloor die karakterisering in die isiXhosa dramas, Amadoda la afunani ezintsaneni (1998) en Yeha Mfazi Obulala Indoda (1997) Hoofstuk 4 handeloor die taal en skryfstyl van die skrywer. Hoofstuk 5 bevat die samevatting van die studie.
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Van, Zyl Yolande. "Hoekom drama? : ’n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2290.

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Thesis (MDram (Drama))--Stellenbosch University, 2008.
The general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.
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Van, Zyl Yolandé. "Hoekom drama? : 'n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch /". Link to the Internet, 2008. http://hdl.handle.net/10019/798.

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Hofmann, Evelina. "Drama som utvecklingsmetod". Thesis, Estetisk inriktning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-9312.

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Bryson, Lucy Lynn. "Drama + math = dramath". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.

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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.
ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities
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Harvie, Jennifer B. "Liz Lochhead's drama". Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/5026/.

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This thesis is an examination of Liz Lochhead's three published plays: Blood and Ice (1982), Dracula (1989), and Mary Queen of Scots Got Her Head Chopped Off (1989). Each of these three plays deals centrally with a literary or historical pre-text: the life of Mary Shelley and the ideology of English Romanticism in Blood and Ice; Bram Stoker's novel Dracula and late-Victorian British ruling-class culture in Dracula; and sixteenth-century Scottish and English history in Mary Queen of Scots Got Her Head Chopped Off. Given these dramatic emphases, the critical emphasis of this thesis is the plays' reassessment of their pre-texts, and particularly of those pre-texts' power to exercise and selectively to confer cultural authority. The thesis argues that the plays critically re-cast their pre-texts, re-interpreting those texts and compelling audiences to do the same. Altering diegetic emphases, the plays emphasize and interrogate the perhaps dubious function of their pre-texts to narrate and legitimate certain cultural groups' dominance and others' subordination. And using narrative forms which contrast in significant ways with those of the pre-texts, the plays demonstrate alternative, less prescriptive narrative forms. The effect of these textual re-interpretations and alternative narrative forms to intervene in hegemonic operations of power is important not least because each of the pre-texts, in different ways, thematically and/or formally, is ostensibly committed to the "fair" distributed of power. Romanticism claims commitment to the liberation of humanity. The protagonists of Stoker's Dracula fight avowedly to protect the superiority of their "good" Western humanity over Dracula's "bad" Eastern monstrosity. And orthodox histories, including those of Mary Queen of Scots and Elizabeth I of England, frequently function to absolve present communities' responsibility for their "closed" histories, but also for their histories' legacies, and, thus, for responsibility for the present.
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Silva, Jameson Thiago Farias. "Um drama cibercultural". Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/5965.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A condição cibercultural pode ser entendida como uma cultura de circunstâncias operadas por tipos específicos de tecnologia; tecnologias que perigam codificar o pensamento, exagerando a polarização das ideias num duplo frenesi ideológico, e tecnologias que possibilitam a mobilização das pessoas em nome de pautas ignoradas pelos espaços legitimados para o fazer político e a discussão de temas deixados de lado, ou adulterados, pelos meios tradicionais de produzir conhecimento e comunicação. Para o internauta, personagem conceitual caracterizado e definido pelas conexões que articula, é neste segundo sentido que se inserem a Mídia NINJA, o Episódio Cablegate, a Primavera Árabe e o Occupy Wall Street. O OWS, mesmo, é coerente em seu manifesto: de fato, formalizar a política da esquerda é endireitar-se, é tornar-se direita, é transformar esse tempo criador em espaço. Mas, sem um espaço formal e estabelecido, como pode o tempo fruir e frutificar? Aí reside o problema do internauta ou, ao menos, o seu fundamento, problema que o internauta tentará encaminhar e, mesmo, recolocar com a noção de parresía. Através dum uso muito particular e peculiar da mesma feito por Michel Foucault, a noção repensa a relação entre verdade, política e sujeito, colocando o problema do discurso verdadeiro não nas famigeradas condições de possibilidade da veridicção, mas na questão do real da filosofia, da sua realidade. O parresiasta é aquele que, fora do estatuto social ou institucional, faz valer sua própria liberdade e coragem ao falar. Levado ao extremo, o parresiasta é o que aceita morrer pela verdade: aceita morrer em nome da verdade, por ter dito a verdade e por ter a verdade no dizer. O que interessa a Foucault e ao internauta, com a parresía, não é um estudo das performances e do sentido dos enunciados neste ou naquele contexto cibercultural, mas um drama, uma dramática dos discursos, um modo de dizer e pensar que revele o contrato do sujeito falante à verdade que enuncia, sua maneira de se vincular à verdade do que diz. Uma leitura cibercultural da parresía; uma leitura de Foucault por um internauta. Este drama cibercultural, aqui presentificado na escritura burocrática de um trabalho de dissertação, é uma tentativa do internauta em resolver o problema que o acomete, o registro institucional dessa tentativa e o próprio internauta.
Cybercultural condition is understood as a culture of circumstances operated by the specific types of technology; technologies which endanger to decode thinking, exaggerating the polarization of ideas on a double ideological frenzy, and technologies which enable the mobilization of people in the name of rulings ignored by legitimated spaces to political doing and the discussion of themes left aside, or adulterate, by traditional means of producing knowledge and communication. For netizen, conceptual personage characterized and defined by connections which articulate, it is in this second meaning that is inserted the NINJA Media, the Cablegate Episode, the Arabic Spring and the Occupy Wall Street. The OWS is coherent in its manifest: indeed, formalizing the left-winged politics turns it into right-winged politics, it is transforming this maker-time into space. However, without a formal space and established, how can the time possess and be fruitful? This is the problem of netizen or, at least, its foundation, problem which netizen will try to route and put back with the notion of parrhesia. Through a very particular and peculiar usage of it done by Michel Foucault, the idea rethink the relation between truth, politics and individual, setting the problem of unfeigned discourse not in infamous conditions of responsibility and veridiction, but in the real matter of philosophy, of its reality. |Parrhesiasta| is someone who even being outside of one´s social or institutional statute enforces one´s own liberty and courage when speaking. Taken to the extreme, |parrhesiasta| is someone who is willing to die in the name of the truth, for having said the truth or for having truth in the said. What comes to Foucault interest and the netizen, along with parrhesia, it is not the studies of the performances and the meanings of the enunciation in different cybercultual contexts, but the dramatic of the discourses themselves, a way of saying and thinking that reveals the relation of the speaker with the truth that one annunciates, one´s way of being bound with the truth. A cybercultural reading of Parrhesia; a Foucault´s reading by the netizen. This cyberculltural drama, presented in this bureaucratic thesis, it is an attempt of the netizen to solve the problem which one is attacked by, the institutional registry of this attempt and the netizen himself.
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Książki na temat "Drama"

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Boireau, Nicole, red. Drama on Drama. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-25443-9.

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Awang, Usman. Drama-drama pilihan. Kuala Lumpur: Dewan Bahasa dan Pustaka, Kementerian Pendidikan Malaysia, 1987.

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Dewata, Kala. Drama-drama Kala Dewata. Kuala Lumpur: Dewan Bahasa dan Pustaka, Kementerian Pendidikan Malaysia, 1990.

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Husain, Shaharom. Drama-drama Shaharom Husain. Kuala Lumpur: Dewan Bahasa dan Pustaka, Kementerian Pendidikan Malaysia, 1991.

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Education, Alberta Alberta. Elementary drama: Drama resource. [Edmonton]: Curriculum Branch of Alberta Education, 1985.

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Makrova, M. N. Zhivoĭ i︠a︡zyk dramy = Alive language of drama. Ulan-Udė: Izd-vo Buri︠a︡tskogo gosniversiteta, 2011.

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Wessels, Charlyn. Drama. Oxford: ELBS with Oxford University Press, 1991.

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Hoeper, Jeffrey D. Drama. New York: Macmillan, 1994.

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Luca, Ndrekë. Drama. Tiranë: M. Barleti, 2010.

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Translation Project "Macedonian Literature in English." i Macedonia (Republic). Ministerstvo za kultura, red. Drama. Skopje: St. Clement of Ohrid, National and university library, 2011.

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Części książek na temat "Drama"

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Watson, J. R. "Drama". W A Handbook to English Romanticism, 95–97. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_25.

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Savonije, Gea, i Els Wouda. "Drama". W Samen terug naar vroeger, 73–80. Houten: Bohn Stafleu van Loghum, 2011. http://dx.doi.org/10.1007/978-90-313-8869-1_5.

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Zywietz, Bernd. "Drama". W Terrorismus im Spielfilm, 437–53. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-12161-7_11.

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Starkey, Guy. "Drama". W Radio in Context, 178–205. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-30224-3_8.

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Watson, J. R. "Drama". W A Handbook to English Romanticism, 95–97. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_25.

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Marsh, Nicholas. "Drama". W Shakespeare: Three Problem Plays, 187–222. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-1-4039-1917-5_7.

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Wynne-Davies, Marion. "Drama". W Sidney to Milton, 1580-1660, 84–137. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-1-4039-3792-6_3.

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Barry, Peter. "Drama". W Issues in Contemporary Critical Theory, 178–86. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-89244-0_14.

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Tomlinson, Sophie. "Drama". W A Companion to Early Modern Women's Writing, 317–36. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470693490.ch21.

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Potter, Jeremy. "Drama". W Independent Television in Britain, 214–26. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-09907-8_12.

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Streszczenia konferencji na temat "Drama"

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Periš, Lucija. "MOĆ KULTURNOGA KONTEKSTA: MARASOVA ADAPTACIJA DRAME VESELE ŽENE WINDSORSKE ILI ČITANJE SHAKESPEAREA KROZ IMOTSKE NAOČALE". W Europski realiteti. Academy of Arts and Culture of the J. J. Strossmayer University in Osijek, 2023. http://dx.doi.org/10.59014/edli4155.

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Rad proučava postupak adaptacije dramskoga izvornika u novi dramski tekst na primjeru zavičajnih igrokaza Vesele žene windsorske (1602) Williama Shakespearea i Vesele žene imotske (2010) Mate Marasa. Budući da su dvije drame napisane na dva političko, društveno i kulturno drugačija područja, jedna u elizabetinskoj Engleskoj, a druga u Hrvatskoj u dvadeset i prvome stoljeću, rad promatra način na koji milje u kojemu autor stvara utječe na oblikovanje teksta. Premda je smjestio radnju svoje drame u Hrvatsku u osvit suvremenoga doba, Maras je zadržao osnovnu ideju Shakespeareova predloška, ali i prilagodio brojne elemente drame novome kontekstu. Likovi u drami regionalno su obojeni, pričaju dijalektom karakterističnim za imotsko podneblje, a drama obiluje prikazima imotskih kulturnih običaja. Oslanjajući se na teorijska promišljanja Linde Hutcheon, radom se nastoji dokazati da je svaka adaptacija određena kontekstom stvaranja i stoga pruža uvid u povijest određene države, društvene odnose i običaje nekoga naroda. Radom se dolazi do zaključka da, iako se Maras poziva na Shakespearea kao inspiraciju za pisanje svojega djela, dvije drame predstavljaju dva različita umjetnička djela s obzirom na društveno-političko-kulturni kontekst, likove i jezik.
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Nguyen, Duy-Thanh, Chang-Hong Min, Nhut-Minh Ho i Ik-Joon Chang. "DRAMA". W ICCAD '20: IEEE/ACM International Conference on Computer-Aided Design. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3400302.3415637.

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Kravari, Kalliopi, Maria Ustyantseva i Nick Bassiliades. "DRAMa". W SETN '18: 10th Hellenic Conference on Artificial Intelligence. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3200947.3201048.

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Train, Louis. "DRAMA IN THE ENGLISH CLASSROOM: UNRAVELING MISCONCEPTIONS AND HARNESSING ITS POTENTIAL IN UZBEKISTAN". W TEACHING FOREIGN LANGUAGES IN THE CONTEXT OF SUSTAINABLE DEVELOPMENT: BEST PRACTICES, PROBLEMS AND OPPORTUNITIES. ISCRC, 2023. http://dx.doi.org/10.37547/geo-15.

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Building on the observation that drama as a teaching tool is not widely used in Uzbekistan, this paper identifies and addresses three common misconceptions about drama among English teachers in Uzbekistan. Drawing on the notion of Drama pedagogy as described by Even (2008) as well as the large-scale survey conducted by Giebert (2014), this paper delivers a practical approach to adopting drama techniques into the classroom in Uzbekistan. Key words: drama, drama pedagogy, Uzbekistan.
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Vryzas, N., A. Liatsou, R. Kotsakis, C. Dimoulas i G. Kalliris. "Augmenting Drama". W AM '17: Audio Mostly 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3123514.3123557.

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Nair, Anushka, i Lauryn Anthony. "Period Drama". W SA '22: SIGGRAPH Asia 2022 Computer Animation Festival. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3550339.3556650.

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Vranić, Valentino, i Aleksandra Vranić. "Drama patterns". W the 24th European Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3361149.3361153.

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Dennen, Vanessa P., Stacey A. Rutledge, Lauren M. Bagdy, Jerrica T. Rowlett i Shannon Burnick. "Avoiding Drama". W SMSociety '18: International Conference on Social Media and Society. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3217804.3217927.

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Nair, Anushka, i Lauryn Anthony. "Period Drama". W SIGGRAPH '23 Electronic Theater: Special Interest Group on Computer Graphics and Interactive Techniques Conference: Electronic Theater. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3577024.3588593.

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Lulli, Bárbara Ferrario. "A TRANSIÇÃO DO DRAMA BURGUÊS PARA O DRAMA NATURALISTA". W VIII Semana de Orientação Filosófica e Acadêmica. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/phipro-sofia-006.

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Raporty organizacyjne na temat "Drama"

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Aalborg, Jack T. Algeria: Everlasting Political Drama (Algerie: Un Drame Politique Perpetuel),. Fort Belvoir, VA: Defense Technical Information Center, maj 1996. http://dx.doi.org/10.21236/ada311566.

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Sastre, Alfonso. The Future of Drama. Inter-American Development Bank, kwiecień 1994. http://dx.doi.org/10.18235/0007911.

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Jorge Marcone (1959-), Peruvian Associate Professor of Spanish Literature and Latin American Studies at Rutgers University (NJ). Current research and teaching focuses on the environmental imagination in literatures in Spanish and in the Americas.
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Lotz, Amanda, Anna Potter, Marion McCutcheon, Kevin Sanson i Oliver Eklund. Australian Television Drama Index, 1999-2019. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.212330.

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This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.
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Netzloff, Heather Marie. Drama in Dynamics: Boom, Splash, and Speed. Office of Scientific and Technical Information (OSTI), grudzień 2004. http://dx.doi.org/10.2172/835377.

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Graves, Darlene. Creative Drama as an Instructional Strategy in Adult Christian Education. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.1349.

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Kennedy, Shane. Expressionist Art and Drama Before, During, and After the Weimar Republic. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.2505.

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Gender, Margaret. Children's drama available for the elementary school children of Portland, Oregon. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.483.

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Sanchez Castillo, S., i E. Galán. Transmedia narrative and cognitive perception of TVE’s drama series El Ministerio del Tiempo. Revista Latina de Comunicación Social, czerwiec 2016. http://dx.doi.org/10.4185/rlcs-2016-1107en.

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Santana, Eliara, i João Feres Júnior. Eleições e corrupção no Jornal Nacional: o drama das entrevistas do Jornal Nacional. Universidade do Estado do Rio de Janeiro, wrzesień 2018. http://dx.doi.org/10.12957/manchetrometro.2018.0016.

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Chamorro Maldonado, MA. Television audience and memory: the case study of the Chilean drama series Los archivos del cardenal. Revista Latina de Comunicación Social, kwiecień 2018. http://dx.doi.org/10.4185/rlcs-2018-1276en.

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