Gotowe bibliografie tematyczne / Monodrama

Gotowa bibliografia na temat „Monodrama”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 2 marca 2023

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Artykuły w czasopismach na temat "Monodrama"

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AL-KUBAISI, Iman Abdul Sattar Atallah. "REINCARNATION AND NON-REINCARNATION IN THE ACTING PERFORMANCE OF MONODRAMA". International Journal Of Education And Language Studies 2, nr 2 (1.06.2021): 33–49. http://dx.doi.org/10.47832/2791-9323.2-2.4.

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The problem of tagged research (reincarnation and reincarnation) boils down to the representative performance of monodrama Ask (how present is the reincarnation and presentation style in the monodrama show?) while the importance of the research was reflected in the highlighting (the specificity of the performance of the actor in the monodramatic play as an ancient art, and what the performance of the actor in monodrama and his style between presentation and reincarnation. The current research aims to reveal the style of reincarnation and presentation in the representative performance of monodrama, and determines the research with monodrama presentations presented in Baghdad for the period (2015-2018) and the terms of research (Reincarnation, Monodrama) were identified, while the second chapter focused on two topics, the first of which was what monodrama is and its roots, while the second focused on the technique of performance in monodrama. The Researcher took the descriptive approach as a way to conduct her research after she got the research community consisting of (5) monodramatic performances through which the sample was randomly elected through the draw by the reality of a theatrical work (EAA Harema) and after analyzing the theatrical performance the results of the research appeared from the most prominent (the use of the two methods of performance, reincarnation in the character of the man or reincarnation in the simulation of other characters. The use of kinetic and vocal skill in presenting the character (officer) and others, reaching a sensory embodiment of the character of war is invisible, and making it felt by Receiver) The researcher concluded what comes (the actor who deals with the work of Monodrami must master the tragic and comedic performance and blend them.The researcher recommended the need to prepare special workshops to write, direct and represent monodrama.
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Bortnik, Zhanna. "Суб’єктна організація сучасної монодрами як основний носій жанру". Studia Ucrainica Varsoviensia 5, nr 5 (8.05.2017): 127–0. http://dx.doi.org/10.5604/01.3001.0009.9096.

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In this paper the main features of modern monodramа with the help of “system-subjective” method of research are overviewed. This method refers to the fore mono-subjective organization оf monodrama through the implementation of the external shared consciousness of a single entity action. It is noted that the loss of integrity monodrama for consciousness is linked to an internal confl ict I / I-Other, where I-Other object is to study the character. Subject of the action in this genre embodies and articulates one individual consciousness, consciousness corresponds to one subject, several characters can display images of their divided consciousness.. Lyric monodrama demonstrates the implementation of principles through the explicit manifestation of epic principles through the implicit expression of the author’s mind. The internal dialectical contradiction lies at the heart of the genre – the only divided consciousness character and attraction to epic / lyrical – cause the modification and transformation of modern monodrama.
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Filippov, G., i Karina Razukhina. "The hero / protagonist and the recipient in the monodrama “The Death of Firs” by V. Levanov". Semiotic studies 1, nr 4 (1.04.2022): 39–45. http://dx.doi.org/10.18287/2782-2966-2021-1-4-39-45.

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In V. Levanovs monodrama The Death of Firs, there is an increase in performatization characteristic of the contemporary drama. The character deduced by V. Levanov is linked by an intertextual thread with the works of Chekhov and transforms into a complex personality, whose identity is revealed through a detailed monologue statement. In order to highlight the characteristic features of the recipient and the character in V. Levanovs monodrama, it is necessary to take into account the performative potential of the text and its influence on the transformation of these categories in the monodrama. Thus, the recipient of the monodrama becomes an accomplice of the communicative act according to the principle of total involvement, and the theatrical enactment of the monologue action is deliberately highlighted by the structure of the text. In this regard, it is necessary to reconsider the influence of the position of the such a subject on the receptive potential of the reader / viewer. Taking into account the monodramas orientation to the extremely personal, the loss / search of identity by the character significantly affects the reduction of the distance between the word and the action, the hero / protagonist and the recipient. The purpose of this article is to comprehend the key categories of the character and the recipient for the monodrama on the material of the play Death of Firs in the context of the peculiarities of the monodramatic compositional speech construction. For this purpose, the authors refer to the works of M. Lipovetsky, S. Lavlinsky, E. Davydova, A. Pavlov and others. Meanwhile, the researchers have repeatedly examined V. Levanovs monodrama from the point of view of the anthropological characteristics of the hero / protagonist and the specifics of the narrative organization of the text. In this study, we first attempted to analyze V. Levanovs play The Death of Firs from the point of view of theoretical poetics and a receptive-aesthetic approach.
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Ishak, Ismaliza. "TRANSFORMATION APPRECIATION OF MONODRAMA "LADY SWETTENHAM" AND "GREEN LIGHT"". International Journal of Creative Industries 1, nr 1 (15.09.2019): 15–26. http://dx.doi.org/10.35631/ijcrei.11002.

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This article is aimed at analyzing the transformation method applied by two selected monodrama actors, Sabera Shaik in monodrama theater "Lady Swettenham" and Shahrul Mizad Asyaari in the monodrama theater "Waiting for the Green Light". This study takes into account some of the transformation methods used for conveying appreciation and visually inspiring the audience. Through the survey method of secondary and premature data and directly involved in the spectacle, the illustration is clearly detailed through scientific analysis in the performance of monodrama acting. These two presentations can illustrate the success of the transformation method and are indirectly made between the basic recommendations to the solo acting method. Using the Imitation theory approach by Albert Bandura and method acting (Stanislavski) this approach can be used as a benchmark for non-realistic acting representation.
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Ageeva, N. A. "Specificity of monodrama discourse". Sibirskiy filologicheskiy zhurnal, nr 1 (1.03.2016): 116–25. http://dx.doi.org/10.17223/18137083/54/14.

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Hodak, Lydia Scheuermann, i Nina H. Kay-Antoljak. "Maria's Pictures: A Monodrama". PAJ: A Journal of Performance and Art 26, nr 2 (maj 2004): 115–30. http://dx.doi.org/10.1162/152028104323048359.

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Lackner, Gerald. "Monodrama mit traumatisierten Flüchtlingen". Psychotherapie Forum 13, nr 1 (marzec 2005): 17–25. http://dx.doi.org/10.1007/s00729-005-0074-5.

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Kukushkina, Evgeniya. "Monodrama in Malaysian National Dramaturgy: a Retrospective of the Emergence of the Genre". Litera, nr 9 (wrzesień 2022): 19–32. http://dx.doi.org/10.25136/2409-8698.2022.9.38753.

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The article focuses on the well-known Malaysian dramatic texts, created in the last third of the twentieth century, the generic features of monodrama in these plays being the main research subject. The purpose of the analysis is to demonstrate monodramatic nature of the works and to establish the time of the birth of Malay monodrama, as well as the reasons why the genre for a long time was not denominated as such. The analysis involves historical-cultural, analytical and comparative methods. Historical and cultural method allows to scrutinize the genre under study in the context of the post-realistic theater of Malaysia, which was born as a reaction to the tragic events of the second half of the twentieth century in the country. Analytical method is used to identify the essential generic features of the studied texts, whereas with the help of comparative method, the artistic features of these texts are matched with the genre characteristics of monodrama. Today, the Malay monodrama is undeservedly deprived of the attention of specialists, although its role on the stage of the country is quite noticeable. This determines the novelty and relevance of the work. The performed research shows that Malay monodrama is much older than is commonly believed, and has existed for almost half a century. The study of the plays "Lazri Meon" by Abdul Samad Said and "Not Suicide" by Dinsman made it possible to identify the most important monodramatic features in them (the subject of representation, the dramatic plot and the conflict), thereby pushing the lower timeframe of existence of this genre in Malay playwriting first until the 1990s, and then - the 1970s. The appearance of a non-classical genre less than a quarter of a century after the birth of Malay drama also allows us to acknowledge the accelerated development of this type of literature in Malaysia.
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Antonov, Yu G. "Genre specificity of the monodrama by the Mordovian writer A. P. Teryoshkin «The Whistleblower»". Bulletin of Ugric studies 10, nr 4 (2020): 607–14. http://dx.doi.org/10.30624/2220-4156-2020-10-4-607-614.

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Introduction: the Mordovian drama genre paradigm develops constantly and is presently enriched with creative innovations that demonstrate the search for the new forms of interpreting reality and the ways to present individual and personal spirits of people. Innovative phenomena in drama update the ethnic art literature and make significant adjustments to its aesthetic evolution. The relevance of the article is determined by the need to understand the artistic processes taking place in Mordovian drama. The object of the study is the artistic particularities of A. Teryoshkin’s genre experiment in the monodrama «The Whistleblower». Objective: to analyze the genre specifics of the monodrama «The Whistleblower» by A. Teryoshkin. Research materials: the monodrama «The Whistleblower» by A. Teryoshkin. Results and novelty of the research: the scientific novelty of the article is due to the small study of the creative work of A. Teryoshkin as the dramatist. The author comes to the conclusion that the analysis of individual human destiny in the monodrama by A. Teryoshkin is carried out by means of self-reflection of the hero in the form of a monologue story revealing the inner motifs of actions. In general, all this reflects the complexity and multidimensionality of the surrounding reality. The fact that the playwright uses extraordinary artistic means within the genre form, innovative for the national literature, confirms his intention to develop the aesthetic framework of Mordovian drama.
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Исмаил гызы Дадашева, Ирада. "The genre of monodrama in the work of S.Beckett". SCIENTIFIC WORK 71, nr 10 (23.10.2021): 7–11. http://dx.doi.org/10.36719/2663-4619/71/7-11.

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The article analyzes the text of the play by S. Beckett "Krapp's Last Ribbon", written by the author in 1958. The peculiarity of the poetics of monodrama in the period of crisis in the history of Western European theater is shown. The main theme of the play is loneliness. Complete loneliness was not only a theme, but also an aesthetic prerequisite that determined the very manner of the actor's play. Key words: monodrama, theater of the absurd, creation, contradiction, public conscience
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Rozprawy doktorskie na temat "Monodrama"

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Svoboda, Andrew. "Martin Streda : a monodrama for baritone and ensemble". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81258.

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Martin Streda is a one-act monodrama for baritone and an ensemble of eight instrumentalists. The libretto was written by the composer. The drama concerns Martin Streda, a Czech political prisoner in a solitary confinement cell of a communist concentration camp on the eve of his death. The opera has a duration of approximately 30 minutes and is divided into four main parts. The analytical essay describes the development and operation of Mar-sys, a collection of twenty pitch aggregates derived from intervalic cells, rhythmic cells drawn from the Morse code alphabet, and other pitch organization systems.
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Fanning, David John. "Schoenberg's monodrama "Erwartung" text, structure and musical language /". Online version, 1985. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.353718.

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Dowell, Joe Herbert. "The monodrama, as represented by Dominick Argento's A water bird talk /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Dahn, Curtis Frederick. "The Haddock". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1339866464.

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Yeo, Narelle Fiona. "“THE INFALLIBLE PROTAGONIST” A STUDY OF COMPLEXITY THEORY AND REHEARSAL DYNAMICS IN MONODRAMA". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16418.

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Monodrama is a work for a sole protagonist, utilising both sung and spoken vocalism over a cathartic narrative. Developed as a subgenre of opera relatively recently, monodrama emerged in the era of Freudian psychology. Monodrama aims to convince the audience of the authority and infallibility of the protagonist’s point of view. An operatic monodrama rehearsal is a unique sociological dynamic, one that functions as a complex adaptive process with director, conductor and performer as principal agents. The effective functioning of this dynamic causes beneficial coherence, measurable by successful performance outcomes (Snowden, 2012). An interesting phenomenon is observed in monodrama rehearsals, divergent from traditionally hierarchical rehearsal dynamics found in opera. The singer has increased agency in rehearsal, effectively transforming the dynamic from a negotiation between stage director and conductor, as occurs in opera, into a collaboration of equal yet distinct roles. Director, conductor and performer form a triumvirate of mutual respect, exhibiting porous boundaries of roles and responsibilities (or linkages). Monodrama rehearsals comprise a series of “safe to fail” experiments, repeating acceptable patterns with mutual agreement of three principal participants (or nodes), and creating unique norms leading to successful performance. The relative agency of each participant in a rehearsal, changing notions of authorship, and the success of this complex collaboration are discussed in detail, showing the possibilities for adaptive rehearsal structures in a traditionally conservative art-form. Primary research is conducted through participation as director and singer in three monodrama production rehearsal periods: “Pierrot Lunaire” by Arnold Schoenberg, “The Seven Deadly Sins” by Kurt Weill, and “The Pomegranate Cycle” by Eve Klein. Industry professionals’ perceptions of the dynamics in monodrama and opera rehearsals are also studied through semi-structured interviews and surveys with thirteen subjects (N=13), four directors (D=4), four conductors (C=4) and five singers (P=5), considering self-reported “successful” performance in opera and monodrama. Both the performance practice research and qualitative research herein supports the hypothesis that a monodrama rehearsal is a collaborative triumvirate functioning as a complex adaptive system, contrasting with the power structures and dynamics commonly observed in opera rehearsals.
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Millett, Anthony Francis, i n/a. "The Understudy: The Embodiment of a Life on Stage". Griffith University. School of Vocational, Technology and Arts Education, 2001. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050920.081742.

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This study presents a work of theatre art in the form of an autobiographical monodrama, supported by three exegeses: a review of informing literature, one of the writing process, the third of the critical reactions to the play at different stages of its development by readers and audiences. The thesis considers the two questions, How can theatre depict my autobiography? and How can monodrama be used to express this autobiography? The first question implies an examination of the process of writing and producing an autobiography for the theatre. The second question is answered through the process that developed in this study towards the choice of the form of a monodrama. The methodology emerged as the play was written and a journal recorded. At times the approach, particularly as it affected the writing of the play, was more like action research in which the play was reacted to and then amended in a cyclical manner, the writer also developing new understandings in the process. The reflective process was used to help in understanding the development that was taking place. A survey, and interviews with audience members were conducted as part of the investigation once the artwork was presented. In addition, after the piece had been developed to the point of presentation, it was subjected to critical evaluation, The data from the audience assisted in the development of the artwork as well as developing an understanding of the research question and the possible answers or further questions. The Generic Exegesis arose out of the reading, and developed as an exegesis accompanying the writing of the play once the form of the play had clearly become a monodrama. The Generic Exegesis is designed to show background reading that has informed directly the writing and performing of the play, 'The Changeling'. A principal objective for writing the play developed from a desire to help others to understand something of the conflicts and dilemmas facing adoptees towards the search for self identity and its relationship to acting. Part of the conflict for an adopted person was crystallised in Derridas concept of erasure and the use of the trace to recognise the coexistence of both sides of a binary, which rationalised the splitting of the central character into the two traces, Dominic and Frank. My need for control of the outcome affected the selection from the autobiography, the development of some scenes, and was one of the reasons for the use of fiction. The data for the Process Exegesis came from the journal that was kept during the writing, production, performance and rewrites of the play. The role of the audience had emerged in the interview data and one of the interview questions asked what kind of audience the respondent thought the play suitable for. The Process Exegesis shows that part of the answer to the research question is arrived at through the systematic recording and analysis of the processes that were involved in the writing of the autobiographical play. These have shown that artistic worth was increased as a factor of the distance achieved. The Critical Exegesis showsthat the issues that the play addressed such as adoption and a search for identity were also perceived as important by the readers and the audience. Significant contributions to the development of the play were made by the Dramaturg (Dl) and some cogent points were made by a second dramaturg. The respondents who were interviewed reacted to the content of the play, namely adoption, identity and the issues associated with them, as well as the performance. This study investigates the processes of the development of an autobiographical performance from the generation of the script to the public presentation. It shows that theatre can artistically depict an autobiography and that the perceived appropriate contemporary theatre formis the monodrama. The main issue to be recognised as arising out of the play and the process is that the whole project has been a search for identity. That identity is defined in the range of characters portrayed in the play as well as the process of writing it. The outcome of the investigation was a piece of dramatic performance text that I had written and performed, accompanied by a critical commentary on the creation, production and reception processes.
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Millett, Anthony. "The Understudy: The Embodiment of a Life on Stage". Thesis, Griffith University, 2001. http://hdl.handle.net/10072/365315.

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This study presents a work of theatre art in the form of an autobiographical monodrama, supported by three exegeses: a review of informing literature, one of the writing process, the third of the critical reactions to the play at different stages of its development by readers and audiences. The thesis considers the two questions, How can theatre depict my autobiography? and How can monodrama be used to express this autobiography? The first question implies an examination of the process of writing and producing an autobiography for the theatre. The second question is answered through the process that developed in this study towards the choice of the form of a monodrama. The methodology emerged as the play was written and a journal recorded. At times the approach, particularly as it affected the writing of the play, was more like action research in which the play was reacted to and then amended in a cyclical manner, the writer also developing new understandings in the process. The reflective process was used to help in understanding the development that was taking place. A survey, and interviews with audience members were conducted as part of the investigation once the artwork was presented. In addition, after the piece had been developed to the point of presentation, it was subjected to critical evaluation, The data from the audience assisted in the development of the artwork as well as developing an understanding of the research question and the possible answers or further questions. The Generic Exegesis arose out of the reading, and developed as an exegesis accompanying the writing of the play once the form of the play had clearly become a monodrama. The Generic Exegesis is designed to show background reading that has informed directly the writing and performing of the play, 'The Changeling'. A principal objective for writing the play developed from a desire to help others to understand something of the conflicts and dilemmas facing adoptees towards the search for self identity and its relationship to acting. Part of the conflict for an adopted person was crystallised in Derridas concept of erasure and the use of the trace to recognise the coexistence of both sides of a binary, which rationalised the splitting of the central character into the two traces, Dominic and Frank. My need for control of the outcome affected the selection from the autobiography, the development of some scenes, and was one of the reasons for the use of fiction. The data for the Process Exegesis came from the journal that was kept during the writing, production, performance and rewrites of the play. The role of the audience had emerged in the interview data and one of the interview questions asked what kind of audience the respondent thought the play suitable for. The Process Exegesis shows that part of the answer to the research question is arrived at through the systematic recording and analysis of the processes that were involved in the writing of the autobiographical play. These have shown that artistic worth was increased as a factor of the distance achieved. The Critical Exegesis showsthat the issues that the play addressed such as adoption and a search for identity were also perceived as important by the readers and the audience. Significant contributions to the development of the play were made by the Dramaturg (Dl) and some cogent points were made by a second dramaturg. The respondents who were interviewed reacted to the content of the play, namely adoption, identity and the issues associated with them, as well as the performance. This study investigates the processes of the development of an autobiographical performance from the generation of the script to the public presentation. It shows that theatre can artistically depict an autobiography and that the perceived appropriate contemporary theatre formis the monodrama. The main issue to be recognised as arising out of the play and the process is that the whole project has been a search for identity. That identity is defined in the range of characters portrayed in the play as well as the process of writing it. The outcome of the investigation was a piece of dramatic performance text that I had written and performed, accompanied by a critical commentary on the creation, production and reception processes.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
Arts, Education and Law
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Nakhlé-Cerruti, Najla. "La Palestine sur scène. Une approche géocritique du théâtre palestinien (2006-2016)". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF037/document.

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À partir d’un corpus de six pièces de théâtre produites entre 2006 et 2016 par des Palestiniens, ce travail étudie l’élaboration de la spatialité dans les textes et ses interactions avec l’espace réel dans lequel ils se déploient. En raison des fortes contraintes imposées aux Palestiniens dans leurs mobilités, la pratique du territoire représente d’abord une expérience identitaire quimarque les conditions de création et les choix dramaturgiques. Le théâtre offre un espace pour raconter cette expérience et c’est le témoignage qui occupe la scène, dans diverses formes d’autobiographie scénique. Le texte, support de mémoire devient un objet littéraire où le récit de soi monologué permet aux Palestiniens d’exprimer l’exil qu’ils vivent, dans sa doublenature : géographique et psychologique. Dans ces récits scéniques, les personnages finissent par se confondre avec l’espace qu’ils décrivent ; s’élaborent alors des figures littéraires spécifiques à ce rapport à l’espace. Ainsi, l’image de l’enfermement manifeste les liens entre le texte et la réalité vécue et décrite. Cette poétique de l’espace participe aussi à la remise enquestion du mythe de la Palestine qui occupe les textes de cette décennie, et fournit ainsi un angle privilégié pour analyser les dynamiques identitaires des Palestiniens
This work studies how the spatial dimension is elaborated in six theatre plays produced between 2006 and 2016 by Palestinians and how these texts interact with the real space within which they unfold. Because of the strong constraints imposed on Palestinians’ mobility, the practice of territory embodies an experience. This alters the conditions and choices of production and theatre offers a space to tell this experience. In this body of texts, testimony takes center stage in the form of staged autobiography. The text therefore becomes a literary object, rather than a medium for memory. Self-narrative allows Palestinians to express their exiles in both geographic and psychological terms, by using the form of the monologue. In their stories, the characters are so affected by this experience of territory that they end up being conflated with the space they describe. The spatial dimension in the texts is elaborated from literary figures. The image of imprisonment expresses in a direct manner the links between text and reality. It participates in the questioning of the myth of Palestine that fills the texts of this decade. It is indeed in real and textual space that the identity dynamics of Palestinians are being built
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CAPALDO, JENNIFER REBECCA. "ELIZABETH VERCOE: Composing Her Story". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1210798047.

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Townsend, Thomas. "Babe Ruth, American hero". [Johnson City, Tenn. : East Tennessee State University], 2003. https://dc.etsu.edu/etd/774.

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Thesis (M.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-0414103-215012. Includes bibliographical references. Also available via Internet at the UMI web site.
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Książki na temat "Monodrama"

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Erlacher-Farkas, Barbara, i Christian Jorda, red. Monodrama. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5.

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Monodrama. Rio de Janeiro, RJ: 7Letras, 2009.

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Nalan, Arthur S. Manusia aneh: Monodrama. Bandung, Indonesia: Jurusan Teater, STSI Bandung, 2014.

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Đidić, Ljubiša. Kneginja Jelena Balšić: Monodrama. Kruševac: Istorijski arhiv, 2010.

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Hodjak, Franz. Franz, Geschichtensammler: Ein Monodrama. Frankfurt am Main: Suhrkamp, 1992.

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Šipinkarovski, Petko. Duhot na vojvodata: Monodrama. Struga: Iris, 2003.

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Johnson is leaving: A monodrama. London: Pisces Press, 1994.

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Hesse, Jurgen. War as crime: A monodrama. Vancouver: Thinkware Publishers, 2000.

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R, Thais Erminy. En un desván olvidado: Monodrama. Caracas: FUNDARTE, Alcaldía de Caracas, 1991.

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Kon, S. Emily of Emerald Hill: A monodrama. Singapore: Macmillan Publishers, 1989.

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Części książek na temat "Monodrama"

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Erlacher-Farkas, B., i Ch Jorda. "Einleitung". W Monodrama, 1–3. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_1.

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Erlacher-Farkas, B. "Beschreibung der praktischen Monodramaarbeit". W Monodrama, 95–117. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_10.

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Rabel, G., i B. Erlacher-Farkas. "Die wichtigsten im Monodrama verwendeten psychodramatischen Techniken". W Monodrama, 118–28. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_11.

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Erlacher-Farkas, B. "Collage". W Monodrama, 131–32. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_12.

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Egger, H. "Künstlerische Collage — Begriffsdefinition". W Monodrama, 132–34. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_13.

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Shearon, E. M. "Surplus Reality in der Einzeltherapie". W Monodrama, 135–52. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_14.

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Sponger-Schönherr, M. Th. "Die Verwendung der Symbolsprache im Psychodrama und Monodrama". W Monodrama, 153–57. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_15.

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Rabel, G. "Monodrama zum Nikolausthema". W Monodrama, 158–61. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_16.

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Stelzig, M. "Indikation für das Monodrama". W Monodrama, 165–70. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_17.

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Pruckner, H. "„Löwe Bernhard“ — Monodramaarbeit mit Kindern". W Monodrama, 171–83. Vienna: Springer Vienna, 1996. http://dx.doi.org/10.1007/978-3-7091-6564-5_18.

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Streszczenia konferencji na temat "Monodrama"

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Bliss, Nathan, Timothy Duff, Anton Leykin i Jeff Sommars. "Monodromy Solver". W ISSAC '18: International Symposium on Symbolic and Algebraic Computation. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3208976.3209007.

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NEKHOROSHEV, N. N. "FUZZY FRACTIONAL MONODROMY". W Proceedings of the International Conference on SPT 2007. WORLD SCIENTIFIC, 2007. http://dx.doi.org/10.1142/9789812776174_0019.

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EBELING, W., i S. M. GUSEIN–ZADE. "LECTURES ON MONODROMY". W Proceedings of the Trieste Singularity Summer School and Workshop. WORLD SCIENTIFIC, 2007. http://dx.doi.org/10.1142/9789812706812_0007.

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Mucuk, Osman, i Tunçar Şahan. "Quotients of monodromy groupoids". W CURRENT TRENDS IN RENEWABLE AND ALTERNATE ENERGY. Author(s), 2019. http://dx.doi.org/10.1063/1.5095113.

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Dabiri, Arman, Eric A. Butcher i Mohammad Poursina. "Fractional Delayed Control Design for Linear Periodic Systems". W ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-60322.

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Streszczenie:
In this paper, the fractional Chebyshev collocation (FCC) method is proposed to design fractional delay controllers for linear systems with periodic coefficients. In our previous study, it was shown that this method can be successfully used to stabilize fractional periodic time-delay systems with the delay terms being of integer orders. In the current paper, it is shown that this method can be extended successfully to design fractional delay controllers for fractional periodic systems. For this propose, the solution of linear periodic systems with fractional delay terms is expressed in a Banach space. The short memory principle is used to show that the actual response of the system can be approximated by an approximated monodromy operator. The approximated monodromy operator yields the solution of a fixed length interval by mapping the solution of the previous interval with the same length. Usually obtaining the approximated monodromy operator is complicated or even impossible. The spectral radius of the approximated monodromy matrix indicates the asymptotic stability of the system. The efficiency of the proposed fractional delayed control is illustrated in the case of a second order system with periodic coefficients.
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Fedotov, A., i E. Shchetka. "Monodromy matrices for Harper equation". W 2018 Days on Diffraction (DD). IEEE, 2018. http://dx.doi.org/10.1109/dd.2018.8553420.

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ZHILINSKII, BORIS. "GENERALIZATION OF HAMILTONIAN MONODROMY: QUANTUM MANIFESTATIONS". W Proceedings of the International Conference on SPT 2007. WORLD SCIENTIFIC, 2007. http://dx.doi.org/10.1142/9789812776174_0027.

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THOMAS, R. P. "MOMENT MAPS, MONODROMY AND MIRROR MANIFOLDS". W Proceedings of the 4th KIAS Annual International Conference. WORLD SCIENTIFIC, 2001. http://dx.doi.org/10.1142/9789812799821_0013.

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NICAISE, JOHANNES, i JULIEN SEBAG. "RIGID GEOMETRY AND THE MONODROMY CONJECTURE". W Proceedings of the 2005 Marseille Singularity School and Conference. WORLD SCIENTIFIC, 2007. http://dx.doi.org/10.1142/9789812707499_0035.

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Leykin, Anton, i Frank Sottile. "Computing monodromy via parallel homotopy continuation". W the 2007 international workshop. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1278177.1278195.

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Raporty organizacyjne na temat "Monodrama"

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Sansonetto, Nicola. Monodromy and the Bohr-Sommerfeld Geometric Quantization. GIQ, 2012. http://dx.doi.org/10.7546/giq-12-2011-320-328.

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Sansonetto, Nicola. Monodromy and the Bohr-Sommerfeld Geometric Quantization. Journal of Geometry and Symmetry in Physics, 2012. http://dx.doi.org/10.7546/jgsp-20-2010-97-106.

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Silverstein, Eva, i Alexander Westphal. Monodromy in the CMB: Gravity Waves and String Inflation. Office of Scientific and Technical Information (OSTI), marzec 2008. http://dx.doi.org/10.2172/926191.

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