Gotowa bibliografia na temat „Drama – explication”

The development of communicative competence is one of the most distinct priorities in contemporary education system in Lithuania (Lietuvos valstybinė švietimo strategija 2013–2022 m.; Pradinio ir pagrindinio ugdymo bendrosios programos (patvirtinta LR švietimo ir mokslo ministro 2008 m. rugpjūčio 26 d. įsakymu Nr. ISAK-2423). Conception of communicative competence of primary school age students is founded on the communication and competence definitions: communication is the activity of conveying information, based on the principle of dialogue, through the exchange of thoughts, messages, experiences, as by verbal or nonverbal interaction, seeking mutual understanding and competence is the entirety of knowledge, abilities, and valuebased attitudes necessary for successful development / self-development and daily life. The objective to enhance effectiveness of the processes of the development of communicative competence induces turning back to the opportunities proposed by training through arts, specifically through drama activity. Effectively applied, drama activity methods can play importante role in transforming and supporting teaching. Following this we raised the research questions: How to specify activities in the textbooks by identifying the methods of creative activity relevant to the development of communicative competence? How in the textbooks (Lihuanian language, Nature Science and Mathematics) are proposed teaching and learning activities relevant to primary school age student‘s communicative abilities (listening, speaking and reading), and how activities are distributed under classes and object of textbooks? How drama activities are presented in the textbooks on developing students’ communicative abilities? This article covers a comparative analysis of the textbooks of the Lithuanian language, Nature science, Mathematics designed for primary school students. Quantitative research design was used and method was employed content analysis (Bitinas, 2008; Ferari et al., 2010; Kojanitz, 2009) of textbooks: Lithuanian language “Pupa”; Nature science “Gilė” and Mathematics “Riešutas” for the first-fourth grades. Total were analysed 32 textbooks. Provision made for sampling of texts, breakdown into constituent components, their categorization, encoding of text units under semantic categories, and interpretation of the contents categories. Drama activity was analysed under to semantic categories – to perform (lt. vaidinti) and to play (lt. žaisti); communicative abilities and activities were analysed under to sematic categories – reading, speaking and listening. Results of the textbooks analysis highlights the nature of the activities contained in to the textbooks and relationship with drama activities, and with development communicative abilities. It has been established in the textbooks, intended for the first through fourth grades, more attention is given to listening and speaking in first and second grades, while in third and fourth grades focus is replaced upon reading, listening and speaking. Analysis of textbooks has shown that pupils are given sufficient amount of activities that develop their communicative abilities, however, when doing analysis in terms of drama activities (semantic categories of the content), only but few drama activities have been identified. The results showed that the students’ communicative competence are most frequently developed in the class (in the textbooks) of the Lithuanian language and Natural sciences. Drama activities are used not always in a suitable manner, i.e. failing to take advantage of the opportunities provided by drama activities. Drama activities in textbooks normally are limited to reading of texts (in dialog) and, focusing upon memorization and reproduction of a text. It has been found out that textbooks also lack tasks associated with different kind of drama activities, there is shortage of learning resources fir to such activities, such as fairy tales, poems, small form folklore, etc.

The topic of this paper is defining the concept of popular culture and determining its influence on the formations of social connection of dramatic characters of Harold Pinter. The first part of the paper relies on the theories of the renowned sociologists regarding the explication of the concept of popular culture and the determination of its elements, with a special focus on social formations. In the second part of the paper, the comparative method determines and explains the social formations that make up the dramatic characters of Harold Pinter in the dramas: The Dumb Waiter, The Caretaker, Homecoming, No Man’s Land, Betrayal and Celebration. More precisely, the connection of Harold Pinter’s drama charac- ters is classified into: an association which purpose is to achieve individual goals (family, friends, business associates) and an association which purpose is in itself (celebration). The aim of this paper is to determine the extent to which popular culture influences the formations of social associations of the protagonists of Harold Pinter’s drama characters.

The article deals with the public speeches delivered by K. D. Balmont in the early 1903, including his lecture The Calderonian Drama of Personality, and the refl ection of this event in a drawing preserved in the archive of M. A. Voloshin. Balmont’s speeches and lectures are analyzed as an explication of his creative stance that informed his literary contacts with his contemporaries.

This research aims at the explication of Korean drama “Two Weeks” by applying poststructuralism. The structuralists contend to have characters as patterns, which can be incurred as apt as universal identities. The poststructuralist mode of analysis, deconstruction, dismantles it as unstable, and its meanings as not self-sufficient. The focus is on discrete analysis than on a judgemental critique, confers a valuable amount of subject deconstruction, especially the protagonist Jang Tae San that has receded to the dismantling of binary oppositions by playing a hero of what structure amounts to a criminal record. Derridas deconstruction accedes to those limits that are a pivot to render signification in the chain of signifiers. “Two Weeks” is a signifier of the nature that is conducive to exploring this post-structuralist identity. The study deduces that the incumbent visuals extend not merely to commerce upshot, but it is a deconstruction of the text itself.

The topic of this paper is defining the concept of popular culture and determining its influence on the attitude and behavior of Harold Pinter's drama characters in the culture of body and pleasure. The first part of the paper relies on the theories of eminent sociologists regarding the conceptualization of popular culture, with a special focus on the element of popular pleasures and body. The body is viewed from a physical, class and gender perspective of popular culture which differs from the ruling ideology, while the performance of popular pleasures is seen through John Fiske's explication, which supports the view that subordinate social groups create their own meanings of content and develop popular pleasures in contrast to the hegemonic pleasures. Also, the paper studies the culture of pleasure and body from the point of view of Roland Barthes' division of the respective into jouissance and plaisir, as well as from the point of view of carnivalization of Mikhail Bakhtin. In the second part of the paper, the behavior of Harold Pinter's drama characters in the dramas Dumb Waiter, Birthday Party, Caretaker, Homecoming, No Man's Land, and Betrayal, is defined and explained by the comparative method, from the perspective of enjoying pleasures. More precisely, the thinking and acting of Pinter's protagonists are classified as manifestation of popular pleasures of jouissance and plaisir. The aim of the paper is to determine how Harold Pinter's drama characters behave in the culture of body, how they enjoy popular pleasures and to what extent popular pleasures affect their life course.

Abstract This article surveys two types of Modern Irish presentative constructions. These constructions open with a presentative element and introduce an NP (entity) or a nexus (a situation or an event involving an entity) into the discourse. I describe the constructions’ poetic functions in literary narratives by Pádraic Ó Conaire (1882-1928). The first type of presentative construction opens with one of the deictic-presentative elements seo ‘here’, sin ‘there’ or siúd ‘yonder’. The second type of presentative construction features as a presentative element of various forms of perception and cognition verbs, such as d’fheicfeá ‘you’d see’ and shílfeá ‘you’d think’. Presentative constructions in literary narrative are used in several functions: expression of a point of view, either the narrator’s or that of a character, scene-setting, explication, and signalling boundaries in the text in varying degrees of cohesion and delimitation. The latter is also used to ‘sudden effect’, adding drama and speeding up story time.

The claim that More wrote several letters from the Tower with a coal may be taken literally, or as an image of powerlessness, or as a reference to Isaiah’s lips touched with a coal by an angel. The coal is an index of how technologies of writing and reports of speaking inform the Tower letters and those surrounding them. The letter to Frith plays upon the difference between heretical textuality and the simple truth of a Christian woman at prayer, as does the letter to Cromwell concerning More’s knowledge of Elizabeth Barton and the exploration of the difference between evidence and hearsay. The scandal of authorship in Margaret Roper’s letter to Alice Alington likewise concerns the play between male and female voices in the text. More’s explication of the fables recited to Lady Alington by Audley emplies out the notion of the author in favor of the voices, male and female, of conscience and love that play out across the written text of the letters the drama of More’s last days.

In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explication of Elizabethan and Jacobean tragedy. Finally, she explores the implications and assumptions of the relatively new discipline of ‘theatrical anthropology’, in which theatre is taken to be the prototype of society. Now teaching in the Department of French Studies at the University of Sydney, Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed to Modern Drama, Theatre International, and Theatre Papers, as well as to the original Theatre Quarterly and other journals.

The article examines the title of Yulia Pospelova’s monoplay “LYOHA...”. The unique role of the title in the dramatic genre of literature is declared, which is associated with the focus of the drama on stage embodiment and with the structure of the dramatic text. It is shown how the text of the play destroys the seemingly obvious expectation formed by the system of title and subtitle - the one whose name is included in the title of Pospelova’s play is neither the speaker in it nor the main character, acting as a character both off-stage and secondary in relation to others off-stage characters in the play. And the title is given graphically in a very non-trivial way - in quotation marks and with an ellipsis at the end, that is, as a quoted replica. All cases of lexical explication of the title into the text of the play are considered, on the basis of which a completely special semantics of this title in projection onto the text is revealed: the title, taking into account its textual manifestations, is understood as a result as someone else’s word belonging to the character, as a quotation. As a result, the word included in the title of Pospelova’s monoplay actually loses its usual anthroponymic function, turning into a word that most relevantly conveys the state of the characters and their experiences; the title “LYOHA...”, while retaining its function as a condensed text, acquired meanings much deeper than could be expected based on its anthroponymic essence. Thus, in relation to the text under consideration, disappointed expectation acted as a technique. As a result, a conclusion is made about the unique specificity of the title in modern drama, where the destruction of reader and spectator expectations turns out to be constructive destruction, forming completely special meanings.

In April 1948, readers of popular French movie magazine Ciné-Miroir were introduced to a new discovery, Dora Grey, a 19-year-old fashion-house model just cast in a film to be shot in Paris and Cannes. Unlike other actresses in Ciné-Miroir, however, Dora Grey never actually existed: she was the fictional protagonist of a comic strip ‘The Passion of Dora, Audacious Starlet’, which ran for fifteen issues. This chapter analyses the words and images of ‘The Passion of Dora’ from several angles: as a genre-bending narrative combining elements of backstage drama, workplace romance, adventure story and gangster film, while incorporating some of the visual conventions of the cinema; as a pedagogical tool taking readers behind the scenes to teach them about filmmaking; and as a self-reflexive explication of the apparatus of promotion and publicity by which film stars are manufactured and marketed – in which Ciné-Miroir itself is seen to play an active role. In line with recent scholarship on post-war French movie magazines, ‘The Passion of Dora’ is posited as an example of mass-market publications’ cultivation of a “popular cinephilia” among film fans, before the advent of the “erudite cinephilia” associated with Cahiers du cinéma.

This chapter moves beyond Martin Delrio’s emendations to study his wide-ranging commentary on other aspects of classical culture. Senecan tragedy, and in particular the Medea and the Oedipus, offered the Jesuit the opportunity to discuss witchcraft and practices of divination in great detail. This chapter argues that Delrio took these tragedies to have a historical core; without some basis in history the plays would lose their moral significance. It also suggests that Delrio’s comments should be read as not only explicating individual lines, but as constructing a reading of the plays in which praise and blame were apportioned. As a result, the tragedies did not carry the same moral meaning for Delrio that they have for us today.

El presente capítulo analiza el rol de la onu en la resolución del conflicto armado nigeriano, a partir del estudio del nacimiento y evolución de la organización terrorista Boko Haram y su impacto en la región. Para ello, se empleó una metodología de estudio de caso, con enfoque cualitativo y alcance explicativo. Dentro de los principales hallazgos de la investigación cabe destacar el papel limitado de la Organización en las etapas iniciales del conflicto, la internacionalización de este como parte del juego de poder entre las poten-cias del sistema internacional, y la preponderancia de los actores no estatales en la visibilización del drama humano ocasionado por las acciones del Estado Islámico en África Occidental. De allí, que se plantee la necesidad de reestructurar el Sistema de Naciones Unidas desde su misionalidad y alcance real, y replantear la lucha contra el terrorismo internacional desde un enfoque de derechos humanos.

This chapter traces how arts of dying migrate from devotional texts into homiletic dramas and finally to the commercial playhouse between 1570 and 1590, around the same time that anti-theatrical condemnations of the stage as inherently blasphemous come to cultural prominence. Theater constitutes an important site of religious instruction and theological investigation not despite, but rather because of, its blasphemous potential. William Wager’s Enough Is as Good as a Feast, Nathaniel Woodes’s The Conflict of Conscience, and Christopher Marlowe’s Doctor Faustus all employ parodies of ars moriendi ideas to represent evil action. Parody arts of dying help dramatize a predestinarian cosmos where distinctions between the elect and the reprobate are fundamental, yet invisible to humans. The bad deaths in these plays function like negative theologies, manifesting and explicating divine will through attempted departures from it. In Doctor Faustus, Marlowe brings the reprobate parodist into focus alongside the divine parodied and makes the magician’s vicious death a site for analyzing human agency. As practices of dying are inverted into theatrical arts of dying badly, Elizabethan dramatists discover occasions to explore the nature of action and the forms of agency available in situations of extreme constraint or privation.