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Artykuły w czasopismach na temat "Reading – political aspects – drama"
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HUTSON, LORNA. "Forensic Aspects of Renaissance Mimesis". Representations 94, nr 1 (2006): 80–109. http://dx.doi.org/10.1525/rep.2006.94.1.80.
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ABSTRACT Current approaches to Renaissance drama, rejecting the older idea of mimesis as likeness to an essential ““nature,”” have also rejected the assumption that Shakespeare's drama is especially mimetic. This article argues that these approaches neglect the contribution of narrative coherence or plot tomimesis and shows that a judicial conception of narrative underlies the mimesis of neoclassical Renaissance drama, including Shakespeare. Mimetic readings of Shakespeare may thus be appropriately legalistic responses to an evidentially based conception of plot.
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Hamilton, John T. "Aspects of reception: reading Goethe’s Iphigenie auf Tauris with Adorno, Fassbinder, and Jauss". Classical Receptions Journal 12, nr 2 (17.10.2019): 129–48. http://dx.doi.org/10.1093/crj/clz016.
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Abstract In staging his Iphigenie auf Tauris, Johann Wolfgang Goethe stages reception itself. The story about a Mycenaean maiden who, exiled from her home in the South, was welcomed and sheltered by the barbarian people of the North, readily represents how the corpus of ancient Greek culture, detached from its native historical context, came to be received and curated by German artists, poets, and scholars, including, of course, by Goethe himself. If Goethe’s text is indeed understood as an allegory of reception, then subsequent readings of his Iphigenie should exhibit any number of ways in which reception itself has been formulated and assessed. The investigations here all turn on the issue of verbal aspect. By turning to key German interpretations of Goethe’s drama by Theodor Adorno, Rainer Werner Fassbinder, and Hans Robert Jauss, which emerged during the socially and politically tumultuous period of 1967–73, the present study aims to give a critical account of receptive paradigms — an account based on an investigation into the varied aspects that distinguish different historical receptions of reception.
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Roselli, D. K. "The Work of Tragic Productions: Towards a New History of Drama as Labour Culture". Ramus 42, nr 1-2 (2013): 104–21. http://dx.doi.org/10.1017/s0048671x00000096.
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The study of the ancient world has often come under scrutiny for its questionable ‘relevance’ to modern society, but Greek tragedy has proven rather resilient. From tragedy's perceived value in articulating an incomplete but idealised state of political and ethical being in Hegel to its role in thinking through the modern construction of politics and gender (often through a re-reading of Hegel), tragedy has loomed large in modern critical inquiry into definitions of the political and the formation of the subject.’ This is another way of saying that the richly textured tragic text has in some respects laid the foundation for subsequent theorising of the political subject.Given the importance placed on such figures as Sophocles’ Oedipus and Antigone starting with Schelling and Hegel, it is perhaps not surprising that recent work in critical theory has tended to recast these particular tragic figures in its critique of Enlightenment thought. Nonetheless, there are problems with the adoption of these figures as paradigms through which tragedy becomes a tool to represent the ancient Greek polis and to work through modern political and ethical problems. The repeated returns to certain aspects of Oedipus or Antigone have contributed to a structured silence around the issue of class relations. Along with the increasingly dominant role of neoliberalism and the continuing importance of identity politics, much recent critical theory has contributed to the occlusion of class and labour from public discourse and academic research. In such a climate, it is no wonder that historical materialism rarely figures in academic works. I wonder whether another narrative is possible through the study of Greek tragedy.
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Penteado, Flávio Rodrigo. "Oswald de Andrade, dramaturgo piromaníaco// Oswald de Andrade, a pyromaniac dramatist". O Eixo e a Roda: Revista de Literatura Brasileira 32, nr 2 (16.11.2023): 28. http://dx.doi.org/10.17851/2358-9787.32.2.28-45.
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Resumo: O artigo se propõe a examinar a atuação de Oswald de Andrade como dramaturgo, com destaque para A morta – ato lírico em três quadros (1937). A peça se encerra com um incêndio, provocado pela personagem do Poeta e cujas chamas se espalham por todo o teatro. Por um lado, é possível enxergar nesse desfecho a explicitação do furtivo ímpeto revolucionário da obra, na qual se encena o embate entre a classe trabalhadora insuflada por ideias marxistas e a elite patronal adepta do integralismo fascista. Por outro lado, também é possível enxergar nele a contrapartida alegórica do aniquilamento da forma dramática manifesta nesse drama. A análise aqui empreendida busca equacionar ambas as perspectivas de abordagem, tanto ao evocar o contexto sociopolítico subjacente à composição do texto quanto ao realçar aspectos da peça como a separação entre corpo e voz ou o esvaziamento da ação dramática. Por fim, pretende-se assinalar que os atributos estéticos da peça, responsáveis por distanciá-la de convenções teatrais em vigor na época de sua escrita, contribuem, hoje em dia, para que sua leitura seja muito estimulante no início do século XXI.Palavras-chave: teatro brasileiro; modernismo; drama moderno e contemporâneo; A morta; Oswald de Andrade.Abstract: This paper aims to examine Oswald de Andrade’s role as a playwright, with emphasis on A morta – ato lírico em três quadros (1937). The play ends with a fire, caused by the character of the Poet and whose flames spread throughout the theater. On one hand, it is possible to see in this outcome the explanation of the furtive revolutionary impetus of the work, in which the clash between the working class inspired by Marxist ideas and the employer elite adept of fascist integralism is staged. On the other hand, it is also possible to see in it the allegorical counterpart of the annihilation of the dramatic form manifested in this drama. The analysis undertaken here seeks to equate both perspectives of approach, by evoking the socio-political context underlying the composition of the text and by highlighting aspects of the play such as the separation between body and voice or the emptying of dramatic action. Finally, it is intended to point out that the aesthetic attributes of the play, responsible for distancing it from theatrical conventions in force at the time of its writing, contribute, nowadays, to its very stimulating reading at the beginning of the 21st century.Keywords: Brazilian theater; modernism; modern and contemporary drama; A morta; Oswald de Andrade.
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Choe, Jung-sun. "The Illusion and Reconstruction of Orientalism in M. Butterfly". Convergence English Language & Literature Association 7, nr 3 (31.12.2022): 327–51. http://dx.doi.org/10.55986/cell.2022.7.3.327.
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David Henry Hwang, a Chinese American writer active in the late 20th century, worked with an interest in Asian-American race issues. One of the important aspects raised by Asian American writers of the time, including Hwang, was to challenge the ‘typicality’ of Asians, which had been created and sustained by western media such as literature, movies, and theater during the 19th and 20th centuries.
Published in 1988, M. Butterfly is based on a true story that is both shocking and moving about the clash of east and west cultures. Hwang wrote this work after reading an article in The New York Times on May 11, 1986 about a spy crime involving a French diplomat. This article was about Bernard Boursicot, a former French diplomat in Beijing who was sentenced for stealing French state secrets to the Chinese government, and Shi Pei-Pu, an actor of the Beijing Opera Company. Interesting about this article was that Shi was a male actor who played a female role professionally, and the diplomat Boursicot claimed that he had no idea that he was a spy or not a woman, even though he had been in love with Shi for 20 years. After reading the article, Hwang concludes that Boursicot must have fallen in love with a typical type of fantasy, not with an individual.
Through this assumption, Hwang connects a westerner who is in the illusion of ‘Butterfly’ with Giacomo Puccini's opera Madame Butterfly(1914) and creates M. Butterfly. This drama begins with a scene in which the main character, Rene Gallimard, recalls his love for Song Liling, a Chinese Beijing opera actor, in a French prison. Song, a spy, instills his presence to Gallimard as a fantastic and typical image of an Asian woman in order to achieve his political purpose. In the end, Gallimard ends his life by learning the truth that his lover was a spy and even a man.
This drama dismantles each thick layer of imperialist cultural and sexual bias. Furthermore it appeals to have a sincere relationship with each other for mutual welfare on an equal basis shared by everyone as a human being. This paper will examine the author's work of rewriting, focusing on the psychology of Gallimard.
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Nurzyńska, Agnieszka. "WANDA CYPRIANA NORWIDA WOBEC TRADYCJI STAROPOLSKIEJ". Colloquia Litteraria 20, nr 1 (8.02.2017): 229. http://dx.doi.org/10.21697/cl.2016.1.15.
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Cyprian Norwid’s Wanda and the Old-Polish Tradition Norwid as a revolutionary and a visionary who reaches towards the roots of Polish literature and himself adds “only a few words” [“tylko parę słów”]? Such a vision of the poet, thinker, and dramatist emerges from the analysis of the mystery play Wanda; this text was once lost and the author edited it for the second time in 1851. The article focuses on three elements of the text that are crucial for its structure: the subtitle, the dedication, and the motto. The analysis of the subtitle “Rzecz w obrazach sześciu” [Object in six images] reveals a discursive composition of the text that is characteristic of Old-Polish dialogues. Reading of the original “Mogile Wandy” dedication while taking into account the contexts of Sęp-Szarzyński and Kochanowski makes apparent Norwid’s reflection on the mythical time and the sacrum time. The interpretation of the motto, which is taken from a seventeenth-century song by Wespazjan Kochowski, emphasizes spatial and at the same time deeply symbolic and political aspects of Norwid’s drama. The mystery play is supposed to furnish spiritual weapons for the people ‘of the North’ to fight the invaders who partitioned Poland. The cursed soil, thanks to the intercession of Wanda who is experiencing her compassio with Christ, will be reintegrated and will become a Blessed soil anew.
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Satyam Kumar. "William Shakespeare’s Macbeth in Adaptation: A Cultural Materialist Reading of Bollywood Movie Maqbool". Creative Launcher 8, nr 2 (30.04.2023): 20–27. http://dx.doi.org/10.53032/tcl.2023.8.2.03.
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The present research article focuses on Bollywood movie Maqbool (2004), the Hindi language movie adaptation of Shakespeare’s famous play Macbeth (1606). Shakespeare’s plays have become available in the cinematic adaptations in many different languages across the globe. All these adaptations focus on different aspects of the original texts, and come up with some entirely new movies which at times have the Shakespearean elements in them. The plots, settings and the timelines are of course different, but they make Shakespeare’s dramas available to a wider audience across different cultures. Maqbool is such a movie adaptation in Hindi, directed by Indian film-director, Vishal Bhardwaj. The movie relates to the incidents and events from Shakespeare’s play Macbeth, though it has entirely new flavours of its own as a typical Bollywood movie. Like Shakespeare’s plays, these movies also have something to offer to the critics. A close analysis of such adaptations, in relation to the original textual creations, can bring forth many new critical perspectives. This article aims at analysing the movie, Maqbool from the perspective of cultural materialism where it tries to bring out that how the movie interrelates with the contemporary social and political situations of the time which it depicts. There are certain hidden structures in the movie which remain unearthed when watched without critical eyes. The paper attempts a cultural materialist reading of Maqbool to bring out such hidden aspects of the movie.
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Panos, Leah. "Realism and Politics in Alienated Space: Trevor Griffiths's Plays of the 1970s in the Television Studio". New Theatre Quarterly 26, nr 3 (sierpień 2010): 273–86. http://dx.doi.org/10.1017/s0266464x10000461.
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The television studio play is often perceived as a somewhat compromised, problematic mode in which spatial and technological constraints inhibit the signifying and aesthetic capacity of dramatic texts. Leah Panos examines the function of the studio in the 1970s television dramas of socialist playwright Trevor Griffiths, and argues that the established verbal and visual conventions of the studio play, in its confined and ‘alienated’ space, connect with and reinforce various aspects of Griffiths's particular approach and agenda. As well as suggesting ways in which the idealist, theoretical focus of the intellectual New Left is reflexively replicated within the studio, Panos explores how the ‘intimate’ visual language of the television studio allows Griffiths to create a ‘humanized’ Marxist discourse through which he examines dialectically his dramatic characters' experiences, ideas, morality, and political objectives. Leah Panos recently completed her doctoral thesis, ‘Dramatizing New Left Contradictions: Television Texts of Ken Loach, Jim Allen, and Trevor Griffiths’, at the University of Reading and is now a Postdoctoral Researcher on the AHRC funded project, ‘Spaces of Television: Production, Site and Style’, which runs from July 2010 to March 2014.
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Ford, David F. "Reading Backwards, Reading Forwards, and Abiding: Reading John in the Spirit Now". Journal of Theological Interpretation 11, nr 1 (1.04.2017): 69–84. http://dx.doi.org/10.5325/jtheointe.11.1.0069.
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ABSTRACT The figural reading approach of Richard Hays can be developed further in various ways through consideration of the Gospel of John. The narrative focus can be broadened to encompass other aspects of the analogical imagination. As all four Gospels, in Hays's reading, take up and transform Israel's Scriptures, so the Gospel of John can be read as taking up and transforming the Synoptic Gospels, with John learning from a culture of creative rewriting. John's own rewriting encourages readers to improvise in thought and action on what he writes. This “reading forwards” takes up what Hays calls “reading backwards” into the ongoing drama of following Jesus in the Spirit. John's temporality reaches beyond linearity by integrating the eternal life of God, and human participation in that, with the incarnate drama of learning and loving in history.
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Pretty Terangpi. "Subverting Androcentrism and Voicing the Silenced in Kavita Kane's The Lanka's Princess". Creative Launcher 5, nr 6 (28.02.2021): 86–92. http://dx.doi.org/10.53032/tcl.2021.5.6.12.
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The retelecast of Ramayana is presumed to have garnered the record as one of the most viewed television series with about 7.7 million viewers worldwide. Mythologies in India are closely intertwined with the socio-cultural aspects of the people, dictating the way the society functions. Such a massive reception of the mythsafter years of their origin only reiteratesthe significance and influence of mythologies even today. The retelling of mythologies is not a current phenomenon, as evident in the presence of the different versionsof Ramayana and Mahabharata.From films, dramas to television series, the two narratives have provided the blueprint for artists from all fields to explore and re-imagine them.The most significant change, however, occurred in recent times with the emergence of the often marginalized section revisiting the two grand narratives, the most prominent being Feminists and Dalits, and give space tothe often marginalized characters that are assigned the role of the 'other.' Writing and Reading are often considered political. The meaning-making process and what is being told or what is omitted is governed by the hegemonic control of the one in power. Mythology is typically considered as the avenuefor Men. Women represented in the epics hardly play a significant role. The omission of the voice of the women like Supernekha, Draupadi, Mandodari, Sita, Urmillafrom the grand narratives becomes all the more vivid as they representthe voice of the sidelined or marginalized. The right to form history belongs to the one ruling. In this case, it is the patriarchal setup that allows only for the androcentric viewpoint in the process relegating all the other possible views. In this vein, using an overarching lens of Feminism, the paperattempts to see Kavita Kane's The Lanka's Princess, from the viewpoint of the often voicelesscharacters to dismantle the binary structureand subvert Androcentrism.
Rozprawy doktorskie na temat "Reading – political aspects – drama"
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Chik, Hsia-hui Alice, i 戚夏蕙. "Adolescents' critical reading of advertisements and public service messages: the interpretation of identitiesand meaning". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31944784.
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Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.
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Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
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Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed". Thesis, Queensland University of Technology, 1999.
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Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and
social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relations - in the context of the receptor's ability to make decisions and to engage in actions, and the communicator's ability to influence the receptor's opinions and behaviour. This thesis will examine two different
practices in which symbolic realities have been utilised in the context of human relations of power. Primarily, this thesis examines the theory and practice of Theatre of the Oppressed as it has developed. Additional(v, Theatre of the Oppressed will be examined in comparison with another body of theory and practice - one grounded in the martial and political fields. The similarities and differences between the two practices will be used as a way of elaborating
upon the objectives and methods of Theatre of the Oppressed, and as a way of examining the overall practice of 'cultural activism'. This thesis will look at the work of Augusto Boal from 1965 to 1998, and the body of his work known as Theatre of the Oppressed. Also examined will be the work of Edward Geary Lansdale from 1950 to 1983, chiefly his work in the Philippines and Vietnam. One is a theatre worker, a writer, director, theorist and politician.
The other retired as a major general in the US Air Force, a renowned intelligence operative and expert. This thesis will argue that they are working in the same field, albeit at different points in spectrums of material resources and ideology. They are both cultural activists. This
thesis will examine the way these two practitioners have used the narrative and the event, the myth and the ritual, to colour the canvas of cultures. Cultural activism is the orchestration of narratives and events. Cultural activists work with the symbolic in order to influence the actual.
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Baldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
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As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.
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Stent, Alison. "Reading the Sowetan's mediation of the public's response to the Jacob Zuma rape trial: a critical discourse analysis". Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1002940.
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In this minithesis I conduct a critical discourse analysis to take on a double-pronged task. On the one hand I explore the social phenomenon of the contestation between supporters of then-ANC deputy president Jacob Zuma and supporters of his rape accuser. The trial, which took place in the Johannesburg High Court between mid-February and early May 2006, stirred intense public interest, both locally and internationally. The performance of thousands of Zuma’s supporters and a far smaller number of gender rights lobby groups, both of whom kept a presence outside the court building throughout the trial, received similar attention. Second, I examine how the Sowetan, a national daily tabloid with a black, middle-class readership, mediated the trial through pictures of the theatre outside the court and letters to the editor. The study is informed by post-Marxist and cultural studies perspectives, both approaches that are concerned with issues of power, ideology and the circulation of meaning within specific sociocultural contexts. A rudimentary thematic content analysis draws out some of the main themes from the material, while the critical discourse analysis is located within a theoretical framework based on concepts from Laclau & Mouffe’s theory of meaning, which assumes a power struggle between contesting positions seeking to invalidate one another and to either challenge or support existing hegemonies. This is further informed by, first, Laclau’s theorisation of populism, which assumes that diverse groupings can unite under a demagogue’s banner in shared antagonism towards existing power, and second, by concepts from Mamdani’s theorisation of power and resistance in colonial and post-colonial Africa, which explicates three overarching ideological discourses of human rights, social justice and traditional ethnic practices. The study, then, explores how these three discourses were operationalised by the localised contestations over the trial.
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Van, der Merwe Anna Susanna Petronella. "Postkolonialiteit in die twintigste- en een-en-twintigste-eeuse Afrikaanse drama met klem op die na-sestigers". Thesis, 2003. http://hdl.handle.net/10500/1219.
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Text in AfrikaansIn this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts.
Afrikaans & Theory of Literature
D. Litt. et Phil. (Afrikaans)
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Gray, Richard James. "French radio drama from the interwar to the postwar period (1922-1973)". Thesis, 2006. http://hdl.handle.net/2152/2495.
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Apotieri-Abdulai, Oluwadamilola. "An exploration of aspects of the South African Bill of Rights through applied drama amongst young adults (care givers) at Rena Le Lona Creative Centre for Children, Johannesburg South Africa". Thesis, 2016. http://hdl.handle.net/10539/19666.
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A research report submitted to the Drama for Life division of Wits School of Arts, Faculty of Humanities, for the award of the degree of Masters in Applied Drama at University of the Witwatersrand, 2015This research report evaluates an exploration of how Applied Drama methods can aid the pedagogy of Human Rights and encourage an attitude of responsibility towards human rights among young adult caregivers at the Rena la Lona Creative Centre in Soweto, South Africa. Human Rights are basic standards which inform the standard of living among people so that they live in dignity. In the context of this study, Human rights education through Applied Drama methods is the means through which people are empowered and are given a sense for responsibility. The study consisted of the use of Applied Drama methods to articulate the education of equality and Human rights. This was done through a practice-based research framework wherein the research is informed by collective practice and also relies on theoretical findings. The first chapter articulates the background and justification of study. Chapter two focuses on the literature and methodology that inform the study. Chapter three explores the research findings through an analysis of the methods used and the learning derived from the practice. Chapter four concludes with the reflection around the research results. The conclusion asserts that the explored Applied Drama methods can be used as a tool for holistic education of the South African Bill of Rights within an informal education setting such as the Rena la Lona Creative Centre.
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Hoffman, Mark Anthony. "Cultural Consumption and Political Thought in the Age of the American Revolution". Thesis, 2019. https://doi.org/10.7916/d8-jpe8-8q82.
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This dissertation uses the reading patterns of New York’s earliest elites, including a significant portion of the founding fathers, who checked out books from the New York Society Library (NYSL), to evaluate the shifting meanings of political thought, affiliation, and action in the years between the ratification of the Constitution and the War of 1812. The reading data come from two charging ledgers spanning two periods –1789 to 1792, and 1799 to 1806 – during which a new country was built, relations with foreign nations defined, and contestation over the character of a new democracy was intense. Using novel combinations of text and network analysis, I explore the political nature of reading and the extent to which social, economic, and political positions overlapped with what people read. In the process, I identify the key social and cultural dimensions on which New York, and by extension, American, elite society was politically stratified in its early years.
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"從辛亥前後香港報章對「革命」的取態看傳媒的政治角色: 以《香港華字日報》為例 = Reading the stance on "revolution" of Wah Tsz Yat Po in Hong Kong, 1909-1913 : a study of media's political role". 2014. http://library.cuhk.edu.hk/record=b6116490.
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香港在主流革命史學的敘述中一般被認為是推動辛亥革命的「搖籃」，但在革命黨人之外的社會大眾，對「革命」究竟有怎樣的取態？《香港華字日報》是這段時期香港銷量最大的華文報紙，仔細考察該報創辦的歷史及其1909-1913年的政治取態，可見該報是華商陳氏家族的一份現代產業，並無黨派認同，報紙內容與宗旨也頗具現代傳媒的新聞專業主義色彩，強調「中立」而較少傳統「文人論政」情懷。本文選取1909-1913年的《香港華字日報》，剖析這五年的報紙中與「革命」相關的內容細節，認為這份報紙對「革命」並非積極推動，取態反而偏於保守，並順應時勢而調整：辛亥前報紙展現的「革命」介於傳統和現代之間，既是「犯上作亂」的傳統造反，又是謀求民族獨立、政治改良的現代革命；而辛亥之後，報紙不滿意革命黨建立的地方政府，轉而支持中央而強烈反對革命黨的「二次革命」。這樣的取態既反映了部份以往未得到充分審視的社會輿論，也與報紙自身的立場及處境有關。
Hong Kong is understood as the "birthplace" of the 1911 Revolution in mainstream studies of the Chinese Revolution. But besides the revolutionaries, how did ordinary people understand "revolution"? Wah Tsz Yat Po was the most widely circulated Chinese language newspaper in Hong Kong during the period concerned. The thesis is an in-depth study of the newspaper’s founding history and its political stance during 1909-1913. It is found that the newspaper was a modernised property owned by the Chan family in Hong Kong. It did not have political affiliations. Its content and objectives showed the newspaper’s emphasis on journalistic professionalism that was similar to that held by modern day mass media, preferring "neutrality" over the tradition of providing political comments.
The thesis closely examines the content of Wah Tsz Yat Po that was related to revolution during 1909-1913. It proposes that the newspaper did not play an active role in promoting revolution. Its stance was rather conservative instead and changed in accordance with political developments. Before the revolution of 1911, the newspaper regarded "revolution" as something between tradition and modernity. It was understood as a "rebellion against the authorities" in the traditional sense and also as a way to attain national independence and political reform in the modern sense. After 1911, the newspaper was against the local government set up by the revolutionists. It then turned its support to Yuan’s central government and took a strong oppositional stance towards "the Second Revolution" initiated by Sun’s revolutionary party. Its stance not only reflected some of the public opinions that were not fully examined but was also related to the newspaper’s own position and situation as well.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
典典.
Parallel title from added title page.
Thesis (M.Phil.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 98-107).
Abstracts in Chinese and English.
Dian Dian.
Książki na temat "Reading – political aspects – drama"
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Lesser, Zachary. Renaissance drama and the politics of publication: Readings in the English book trade. Cambridge, U.K: Cambridge University Press, 2004.
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Shannon, Patrick. Reading poverty. Portsmouth, NH: Heinemann, 1998.
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Kan, Anneka Esch-van, Philipp Schulte i Stephan Packard. Thinking, resisting, reading the political. Zürich: Diaphanes, 2013.
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Bergholtz, Frederique. (Mis)reading masquerades. Berlin: Revolver, 2010.
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Sassower, Raphael. Political blind spots: Reading the ideology of images. Lanham, MD: Lexington Books, 2005.
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Alan, Kennedy. Reading resistance value: Deconstructive practice and the politics of literary critical encounters. Basingstoke: Macmillan, 1990.
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Kradraoui, Chantal. Au théatre a Lyon de 1789 a 1799. Lyon: d. lyonnaises d'art et d'histoire, 1988.
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Beth, Rose Mary, red. Disorder and the drama. Evanston, [Ill.]: Northwestern University Press, 1990.
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Campos, Aidê Fátima de. O drama da educação profissional em Mato Grosso: 1995-2002. Brasília: EdUFMT, 2006.
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1963-, Knežević Marija, i Nikčević-Batrićević Aleksandra, red. History, politics, identity: Reading literature in a changing world. Newcastle: Cambridge Scholars, 2008.
Znajdź pełny tekst źródłaCzęści książek na temat "Reading – political aspects – drama"
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Dall’Asta, Monica, Jacques Migozzi, Federico Pagello i Andrew Pepper. "Introduction". W Contemporary European Crime Fiction, 1–21. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-21979-5_1.
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AbstractThe introduction offers a way of reading contemporary European crime fiction that pays attention to the national crime fiction traditions of discrete European countries and explores the transcultural, transnational elements of this emerging form. Our expansive understanding of this form is organized around three central aspects: firstly, the internationalization of European crime fiction as a driver of narrative ‘glocalization’; secondly, the complex forms of political engagement at play in this body of work, where the progressive articulation of new identities forged at the crossroads of ethnicity, gender and sexuality is set against insights into political corruption, racism and state violence; and thirdly, an emphasis on the centrality of historical recovery where the excavation and interrogation of traumatic histories is understood as a reflection on present circumstances.
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Lange, Anne, i Aile Möldre. "Russian Literature in Estonia between 1918 and 1940 with Special Reference to Dostoevsky". W Translating Russian Literature in the Global Context, 45–66. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.03.
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This chapter gives a survey of translations from Russian literature made in Estonia in 1918–40 against the backdrop of the latter nation’s cultural development. Translation is understood as a practice affected by social contingencies and cultural exchanges. As former citizens of Tsarist Russia, the older generation of Estonian intellectuals for who shaped the cultural repertoire of Estonia after independence in 1918 drew on their knowledge of Russian. The initial need for drama translations for amateur theatre groups was paralleled by interest in new developments of Russian fiction (reflecting the influence of Soviet Communism) and in translations of classic Russian authors, now part of the global literary canon. To support our argument that cultural exchange is relatively autonomous from political factors, we analyse how Dostoevsky influenced Anton Hansen Tammsaare (1878-1940), a major Estonian prose author and a translator of Dostoevsky. Tammsaare openly acknowledged Dostoevsky’s influence on the poetics of his prose. Through transculturation, the polyphonic composition of Dostoevsky’s novels resonates with aspects of Tammsaare’s pentalogy Truth and Justice. The latter’s translation of Crime and Punishment is the only Estonian version of this novel; it has been reissued repeatedly and never retranslated. The freedom of the world republic of letters, which ignore political and linguistic boundaries of nations, is manifest in Tammsaare’s decision to translate Crime and Punishment and the fact that his century-old version is still current in Estonia.
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Danisi, Carmelo, Moira Dustin, Nuno Ferreira i Nina Held. "A Theoretical Framework: A Human Rights Reading of SOGI Asylum Based on Feminist and Queer Studies". W IMISCOE Research Series, 51–93. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69441-8_3.
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AbstractSince SOGI considerations have started to inform the interpretation and the implementation of the Refugee Convention (Chap. 10.1007/978-3-030-69441-8_1), a broad range of scholars from different disciplines have explored how questions of sexual orientation and gender identity can be effectively addressed within international, supranational and domestic asylum systems. The debate around aspects of RSD and beyond generated by this theoretical exchange within the same discipline and between different research areas has contributed to the (ongoing) normative movement towards a more inclusive Refugee Convention framework. In an attempt to nurture this continuous debate, we outline the theoretical and analytical frameworks that shape the subsequent analysis. We take advantage of the authors’ diverse experience in different academic fields to apply an interdisciplinary approach, addressing our subject from various perspectives. We start from the recognition that a detailed understanding and application of the Refugee Convention is vital as the floor for addressing SOGI asylum claims, but not in itself sufficient to ensure that these are fairly treated. Section 3.2 therefore looks to human rights to show how interweaving human rights frameworks with refugee law heightens understanding in this field of asylum. To this end, the main body of this chapter develops an approach that addresses the failings from a SOGI asylum perspective of international human rights law (IHRL) and international refugee law (IRL) individually. However, we then argue that, without explicitly recognising the gendered and sexualised nature of SOGI asylum, IHRL is only part of the solution. In Sects. 3.3 and 3.4 below, we claim that feminist and queer theories, and particular threads of debate within these broad disciplines, can help to understand the experiences of SOGI minorities fleeing persecution and, importantly, to explain why, despite improvements to the law and guidance that recognise the right to protection on this basis, there has been insufficient progress on the ground. In this way, combining a human rights-based approach that is largely legal with political and sociological contributions from feminism and queer theories facilitates a more holistic analysis.
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Garden, Alison. "Saint Casement". W The Literary Afterlives of Roger Casement, 1899-2016, 105–28. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621815.003.0005.
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This chapter explores Casement’s afterlives in drama, arguing that the intermedial recycling of various aspects of Casement’s life, legacy and politics continue to fascinate dramatists. The first play discussed is George Bernard Shaw’s Saint Joan (1923) and, reading Shaw’s play alongside copious archival sources, this chapter seeks to assess the extent of the relationship - political, historical and imaginative - between Shaw and Casement. David Rudkin’s radio play, Cries from Casement as His Bones are Brought to Dublin, uses the power of voice and accent to eruditely and creatively stage Casement’s contradictory and evolving sense of identity. Finally, this chapter explicates how Martin McDonagh’s use of Casement in The Lieutenant of Inishmore (2001) is glancing but powerful, testifying to the power that Irish history can continue to hold on contemporary politics, even if it is misunderstood and misplaced.
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Wynn, Thomas. "Théâtromanie and Reading". W Reading Drama in Eighteenth-Century France, 31–50. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198895329.003.0002.
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Abstract This chapter proposes that reading plays was an integral part of the théâtromanie (or craze for theatre) that was characteristic of eighteenth-century France. It draws on publishing data and personal testimonies to show that readers’ experiences of drama cannot be confined to the quiet margins of the broader dramatic culture of Enlightenment France. To read a play is not necessarily to spurn the playhouse; reading, viewing, and listening overlap in important ways. Challenging the critical consensus of readers as isolated and studious individuals, this section foregrounds the social and emotional aspects of encountering plays in print and manuscript, and it proposes a range of protocols of reading drama (including in print, in manuscript, and socially) that obtain in the period.
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Machielsen, Jan. "Historical Drama". W Martin Delrio. British Academy, 2015. http://dx.doi.org/10.5871/bacad/9780197265802.003.0008.
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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.
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McCormick, John P. "The Cambridge School’s “Guicciardinian Moments” Revisited". W Reading Machiavelli, 176–206. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691183503.003.0007.
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This chapter focuses on the most influential contemporary approach to the study of classical and early-modern republicanism and Niccolò Machiavelli's supposed place within that tradition—the Cambridge School of intellectual history, most prominently represented by J.G.A. Pocock and Quentin Skinner. It argues that these world-renowned intellectual historians obscure important aspects of both republican and Machiavellian political thought; specifically, they largely ignore the fact that ancient and modern republicanisms secure the privileged position of elites more than they facilitate political participation by citizens. They also underplay the fact that Machiavelli's political prescriptions more substantively empower common people and more actively facilitate popular contestation of elites than did most authors and regimes that typify republicanism.
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Mirowska, Paulina. "The Silencing of Dissent: Harold Pinter’s Bleak Political Vision". W Studies in English Drama and Poetry vol. 3. Reading subversion and transgression, 79–91. Wydawnictwo Uniwersytetu Łódzkiego, 2013. http://dx.doi.org/10.18778/7525-994-0.07.
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Wingfield, Emily. "Reading and writing St Margaret of Scotland from Turgot’s Vita to the Blackadder Prayerbook". W Aspects of knowledge, 210–32. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719097843.003.0010.
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Emily Wingfield’s chapter examines treatments of Queen Margaret of Scotland (d. 1093), beginning with the Life written by Turgot, prior of Durham, at the request of Margaret’s daughter the English queen Matilda, a work that highlights Margaret’s literacy and learning; Margaret’s role as reader and writer is shown to be emphasised also in later treatments. The subject of this chapter is thus not a branch of knowledge but the perceived learning of an important female individual and the significance of that learning in constructions of her as a saint. The chapter examines the way in which books function as vehicles for Margaret’s sanctity and political power and suggests that the Life itself is designed to model the life of a learned and holy queen for Margaret’s daughter, Matilda. Wingfield then considers how later verbal and visual accounts of Margaret develop this tradition so that she comes to function as an advisor of princes as well as princesses, her sanctity being shown to inhere ‘quite specifically, in her literacy’.
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Fiori, Umberto. "Listening to Peter Gabriel’s ‘I Have the Touch’". W Reading Pop, 183–91. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166122.003.0009.
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Abstract The very existence of popular music research in its various aspects can be considered, with its investment of attention, as a general value judgement on the music’s potentialities. Moreover, we should not forget that a serious interest in popular music research would probably not have been possible without the emergence of more ambitious musical products testifying to a need for emancipation. Even so, perhaps because of a bitter awareness of its own roots in the same cultural and political processes, popular music research has somehow more and more tended to ignore ‘quality’ products in the field, whether because of their decline since the 1970s, or for the sake of some ‘scientific’ suspension of value judgement.
Streszczenia konferencji na temat "Reading – political aspects – drama"
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ARMAȘU-CANȚÎR, Ludmila, i Liliana SCÎNTEI. "Approaching drama strategies to optimize oral message reception skills". W Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v2.24-25-03-2023.p241-246.
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Communicating involves expression and reception, two aspects that intermingle and influence each other. Optimizing the oral reception process is one of the concerns of kindergarten and primary school teachers. Reception disorders, such as, lack of attention, misunderstanding the message or lack of involvement, lead to the failure of the act of communication. In the context of current concerns about functional literacy, there is an increasing emphasis on expressive reading aloud to children in class by experienced readers such as: older students, parents, teachers, actors or writers. Such an activity focuses on emotional development, but also has obvious intellectual benefits: enriching vocabulary, learning phonics that give expressiveness to language, improving attention and practicing comprehension. However, listening is currently approached as a multidimensional competence that includes cognitive, behavioral and affective components. The affective components of listening take into consideration how/the way students engage in listening, motivation for listening, willingness and pleasure to listen. When listening is stimulated through game-exercises, dramatization, role-play and storytelling techniques, it has positive effects on both comprehension and attention, as well as on performance in interpersonal communication. The main purpose of this work stems from the need to stimulate the development of oral reception in young schoolchildren, an important component of the communication and interpersonal relations competence. This study provides a clearer perspective on the use of dramatic strategies for the development of oral message reception competence.
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Mancini, Francesco Maria, i Tanja Glusac. "Void of Power". W 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6172.
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The history of built environment reflects the rise and fall of political systems, their conflicts, social contradictions and ultimately, the state of being of particular civic societies over time. Former symbols of power, such as ancient monuments, palaces and churches still express their symbolic, economic, cultural and political value which constituted in different ages the motivation for their being. Today these are replaced by new symbols of contemporary economic forces which through skyscrapers express global tendency and power shifts. While such edifices are recognizable embodiments of power and political systems of their time, less visible, yet equally potent, are the shifts and voids in power relations. To fully comprehend the role of architecture in expressing and supporting power structures, it is important to question the concept of architecture as a mere act of presence (construction) and consider instead the void and its complementary aspects: absence, erasure and ideological need for demolition, as expressions of power. This paper considers power within the parameters of void, which extend beyond the notion of “tabula rasa” that has characterized many urban transformations. By considering the emblematic case of Via dell’ Impero, analyzing various ‘iconic’ works of architecture for their role in expressing power of institutions and individuals, and identifying dispersion as an underhanded way of exercising power, this paper proposes a more complex reading of urban transformations. It offers moments of reflection and a shift in research focus in terms of how the void is used today to express and support present power relations.
Raporty organizacyjne na temat "Reading – political aspects – drama"
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Buitrago García, Hilda Clarena. The Ins and Outs of Colombian Higher Education System. Ediciones Universidad Cooperativa de Colombia, kwiecień 2023. http://dx.doi.org/10.16925/gclc.37.
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In this critical reading, the importance of learning about some aspects related to the history, evolution, regulations, achievements, and challenges of higher education in Colombia is raised. This knowledge is especially relevant for tertiary education teachers. With this purpose in mind, the beginnings of such an educational system in the colonial period, as well as the transformations and milestones reached during the various historical, political, and economic changes that our country has had, are described. A description of the current state of tertiary education in Colombia is also offered through statistical data. Additionally, the laws, decrees, and resolutions that make up the legal framework, as well as the governmental bodies in charge of regulating its operation and guaranteeing the quality of the programs, are explained. It also examines the role that icts have in innovation processes and the changes and legislation that have arisen because of the COVID-19 pandemic. It is concluded that, despite its evident evolution, Colombian higher education still faces challenges that require the proposal of pedagogical, technological, and political measures that adjust to the needs of all the agents involved.
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Melnyk, Olesia. MEDIA DISCOURSE AROUND THE FIGURE OF ORIANA FALLACHI AND HER JOURNALISM DURING 2017–2020. Ivan Franko National University of Lviv, marzec 2021. http://dx.doi.org/10.30970/vjo.2021.50.11114.
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The article analyzes the media discourse around the figure of Oriana Fallachi and her journalistic work during 2017-2020. The actual media image of the figure of Fallachi is highlighted, examples of positive and negative statements are given. It is substantiated why her journalism should be researched in various ways, taking into account other aspects of her work that are not related to Islamophobia. The subject of the study is critical texts in modern foreign media dedicated to the author’s work. The objective of the study is to outline the media discourse around the figure of Oriana Fallaci and her journalism during 2017-2020. The methodology. The following methods have been used in the process of scientific research: historical, comparative, systems analysis, content synthesis, and others. The main results. In total, we have analyzed eight materials in foreign publications, published over the past 3 years, as well as the two most famous biographies of Oriana Fallaci. Some of the most recent reviewed texts have been published in the last few months, reflecting the interest in the author’s journalism, her writing, and reporting. Therefore, we see the need for further tracking and analysis of this body of texts. Conclusions. Critics of Fallaci express polar views that are not all negative. Authors recommend quite cautiously her texts for reading, emphasizing their positive aspects. Both Fallaci’s biographies are also not entirely complementary: some aspects of her work are glorified, others are condemned. We managed to find general tendencies in the criticism of Oriana Fallaci’s journalism. These include accusations of xenophobia and Islamophobia, uncompromisingness, lack of political correctness, and moral value. The authors emphasize, at the same time, the openness and directness that bribe the reader, patriotism and honesty, strength of spirit and firmness of position. Significance of the research. The analysis of the latest criticism reveals what kind of media image Fallachi’s figure has today, and gives the possibility to research it for demonization and one-sided coverage. This is important not only for thorough research of the author’s work but also for understanding how the modern world perceives journalism, which is contrary to the generally accepted principles of political correctness, journalistic ethics, and humanity.