Gotowe bibliografie tematyczne / Siblings – Drama

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Gotowa bibliografia na temat „Siblings – Drama”

Autor: Grafiati

Data publikacji: 28 lipca 2024

Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Siblings – Drama"

Chan, Zenobia C. Y., i Joyce L. C. Ma. "Siblings Family Drama". Journal of Feminist Family Therapy 19, nr 2 (11.10.2007): 25–61. http://dx.doi.org/10.1300/j086v19n02_02.

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Kiczma, Monika. "Sibling expressions of living with cystic fibrosis using the dramatic arts". Clinical Psychology Forum 1, nr 151 (lipiec 2005): 24–27. http://dx.doi.org/10.53841/bpscpf.2005.1.151.24.

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This article outlines a siblings’ workshop that was set up in partnership with a local theatre company. A qualified drama teacher led the group using sound, movement and drama to help the children express their feelings and share experiences of living with a brother or sister who has cystic fibrosis.

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Malhi, Prahbhjot, i Bhavneet Bharti. "Using drama therapy as an effective intervention for bullying among siblings". Indian Pediatrics Case Reports 1, nr 4 (2021): 228. http://dx.doi.org/10.4103/ipcares.ipcares_295_21.

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Umuzdaş, Serpil, Akanda Doğan i Mehmet Serkan Umuzdaş. "Impact of Musical Creative Drama Education on Self-Confidence of Preschool Children". Journal of Education and Training Studies 7, nr 11 (26.08.2019): 10. http://dx.doi.org/10.11114/jets.v7i11.4471.

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The aim of this study is to examine the impact of getting musical creative drama education on self-confidence of preschool children. The study was conducted in Tokat Private İlgim Schools, with 4, 5 and 6 year-old preschool children in the 2018-2019 academic year. The education was conducted with a total of 50 students, 29 being boys and 21 girls. The research data were collected through the Günalp self-confidence observation test that is applied to preschool children. At the end of the 10-week experimental period, the impact of creative drama education on self-confidence of preschool children was tested. SPSS program was used for data analysis. "ANOVA" was used in the comparison of the levels of self confidence by hometown, number of individuals living at the household, status of parents, number of siblings, child's birth order in the family, economic status of the family, age of starting school, caregivers before starting school, education level and occupation types. Results of the study showed that there was a significant difference in self-confidence development of preschool students as a result of creative drama studies. No statistically significant difference was found in the self-confidence development of students in terms of gender, hometown, number of individuals living at the household, status of parents, number of siblings, child's birth order in the family, economic status of the family, age of starting school, caregivers before starting school, education level and occupation types of parents. There was a significant difference between pre-school students' self-confidence in proportion to their ages. It was seen that musical creative drama activities make a positive impact on the self-confidence of preschool students.

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Sung, Yu-kyoung. "A Study on Linguistic Normativity in the Drama ｢Lullaby for Two Siblings｣". Journal of Ehwa Korean Language and Literature 44 (30.04.2018): 145–67. http://dx.doi.org/10.29190/jekll.2018.44.145.

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Putera, Harya Sastra, Hamidin Hamidin i Nurizzati Nurizzati. "PERGESERAN PERAN MAMAK DI RUMAH GADANG DALAM NASKAH DRAMA MATRILINI KARYA WISRAN HADI: KAJIAN SOSIOLOGI SASTRA". Jurnal Bahasa dan Sastra 5, nr 1 (10.01.2018): 99. http://dx.doi.org/10.24036/898660.

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This study aimed to describe: (a) the character and disposition of the characters in the plays Matrilini work Wisran Hadi. (B) the character and disposition of the characters in the plays Matrilini work Wisran Hadi. This study is a qualitative study using descriptive analysis method. Data of this study is to establish a form of characterizations of Matrilini which amplifies the shifting role and impact of the shift mamak roles in the plays Matrilini work Wisran Hadi. Sources of data in this study was 5 Drama: Contest Winners Jakarta Arts Council in 2003. Data collected by reading the plays Matrilini works Wisran Hadi, then inventarization of the data. Mechanical validating data by conducting detailed description techniques, and techniques of analyzing the data, inventory the data, interpret the data and draw conclusions and write a report. Based on the results of the study, concluded the following. First, the figures showed Mamak oriented attitude towards money and so recognize it as a mamak notch. Second, the impact of the shifting role in the longhouse mamak scripted drama is the impact on self Matrilini mamak and the extended family, such as the nephew and siblings. Keywords: Wisran Hadi, Plays, Niniak-mamak

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ZA, Dede Rosyadi. "The Construction of turn taking and interactional moves pragmatics analysis in drama Tarling Cirebon". Concept : Community Concern for English Pedagogy and Teaching 8, nr 2 (16.01.2023): 70–80. http://dx.doi.org/10.32534/jconcept.v8i2.3240.

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This study examines how turn construction talks and the conversational interaction movements that have been distributed by Cirebon Tarling drama actors that are in the form of conversation. Analysis of identity, motivation, and ideology complements this analysis to identify identity, motivation, and ideology which are the backgrounds for the turn construction of speech and the movement of conversation interactions. Data was obtained from two sources, namely first, the Cirebon Tarling drama entitled “Gila Harta Warisan” and “Mencari Wali Sejati”. The initial data is in the form of video. Then the researcher listens and looks at it and changes it into a conversation transcript. The method that used is descriptive method. Techniques used through transcription, recording, collection, reduction, and analyzing. The results of the study show the following: Identified turn taking construction and the construction of interactional moves in the Cirebon regional languages ??are not much different from English. It was identified that there were participants who started the conversation with small talk or older siblings. A person's identity plays an important role in acting speech. Identity influences the speech of the speaker. Motivation is the impulse of someone in acting well or acting in speech. In this study motivation becomes a person's background in speaking. Ideology is a person's principle in acting behavior and acting speech. The relation between the identity, motivation, and ideology of participants is very related. keywords: turn taking; interactional moves; identity; motivation; ideology.

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Votava, Jennie M. ""Nothing will come of nothing": King Lear and the Paradoxical Debasement of Whiteness in HBO's Succession". Shakespeare Bulletin 41, nr 3 (wrzesień 2023): 427–52. http://dx.doi.org/10.1353/shb.2023.a916467.

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Abstract: This essay examines the central role of racial whiteness in the self-construction and widespread reception of HBO’s popular series, Succession , as King Lear ’s twenty-first-century heir. Drawing on Christina Wald’s analysis of Succession as “serial Shakespeare,” conversations about the show in digital culture, and work in critical whiteness studies including several recent discussions of race in King Lear , I trace Succession ’s representation of the four Roy children’s battle for control of their father’s global media empire to the racialized portrayal of key characters in Shakespeare’s arguably grimmest tragedy. My focus is the Roy empire’s heir apparent, Kendall Roy, and his affinities with Edgar, Goneril, Cordelia, and Lear himself as figures of early modern racial ideologies. Kendall’s association with these characters in King Lear not only sheds light on the roles of race and gender in HBO’s flagrantly white drama, but also exemplifies what Arthur L. Little, Jr. describes as Shakespeare’s underappreciated but “prodigious contribution” to the making of white people. Succession ’s repeated exposures of the Roy siblings’ toxic, privileged whiteness, along with Kendall’s repeated, failed efforts to be crowned head of his father’s company, resonate with King Lear ’s oft-discussed emphasis on “nothing,” as well as its ambivalence about the future of a unified white nation. What Succession finally reveals about King Lear is a paradox fundamental to both dramas’ constructions of racial whiteness: debasement only adds to its power.

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Park, Mi-kyoung. "Instrumental Relations: Society and Dramatic Reflection: Focusing on My Haebang Ilji". Korean Language and Literature 125 (30.11.2023): 169–200. http://dx.doi.org/10.21793/koreall.2023.125.169.

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This paper focuses on the three Yeom siblings, who are the main characters in My Haebang Ilji, who represent their 20s and 30s, and show the difficulty of establishing personal relationships by being hurt and frustrated in their relationships with others. The failure to establish relationships in My Haebang Ilji reminds us of the problematic reality that young people in Korean society are currently experiencing. Accordingly, this paper explores the causes of impersonal and instrumental relationships reproduced in My Haebang Ilji, analyzes the instrumentalization patterns centered on the characters, and examines the characters' reactions and ways of overcoming them. To this end, we examined how the main characters of My Haebang Iljil are objectified as tools or means, through the way objectification is realized based on the relational theory of Martin Buber, a philosopher of human relations theory. Next, we examined the main characters' reactions to the instrumental relationship society and how each of them changes in their own way. The instrumental relationships shown in My Haebang Ilji can be seen to be derived from the negativity of reality, such as individualism, centralism, poor bonds of unstable irregular workers, and performanceism and materialism of the younger generation who have internalized infinite competition under the neoliberal economic system. In this instrumental relational society, the three siblings are hurt and frustrated, but they find their own true way of relating to each other, and show the possibility of liberation from non-subjective objectification. In the drama My Haebang Ilji, it was also shown that true relationship can begin when we face each other not as a thing, but as an I-you, that is, a person and a person. In the course of this study, we were able to see that the ontological concern about 'what is human existence' is ultimately replaced by the relationship between the characters in My Haebang Ilji and leads to an opportunity for dramatic reflection. Above all, the search for the spiritual values that we need to recover and a better place in life through dramatic imagination can be evaluated as providing an opportunity for reflection through television dramas.

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Olej, Pamela. "Nieokiełznane opowieści-kłącza. Mo Dao Zu Shi i Chen Qing Ling jako przykład transmedialności na gruncie chińskim". Panoptikum, nr 28 (29.12.2022): 28–59. http://dx.doi.org/10.26881/pan.2022.28.02.

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Despite the academic efforts in making it more known and familiar, Chinese cinema is still sometimes considered to a certain degree as „an outlandish”. Is it the case? I decided to examine it on the example of work, which was divided with time into separate pieces, and then underwent the process of transmedia storytelling – a form of media narration forgotten after Matrix by Wachowski’s siblings. As a primary role in my reflection serves The Untamed – 50-episodes Chinese historical drama (guzhuang) shared via Tencent platform in 2019. At this point the series is rather known, but at the same time it stays away from mainstream – located slightly at the edge of global awareness, somewhere between popular and niche culture. Thanks to transformation into transmedia story, and also being entangled in the Internet second circuit, the original plot, depicted by the series, received recognition and opened itself for the farther interpretations and metamorphosis.

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Rozprawy doktorskie na temat "Siblings – Drama"

Ashworth, Stacey Pamela. "The weight of expectations : deciphering baggage and defining character in “Olivia’s retreat”". Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-08-6213.

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“The Weight of Expectations: Deciphering Baggage and Defining Character in ‘Olivia’s Retreat’” charts the conception and development of Stacey Ashworth’s feature length sibling drama while also discussing the subsequent lessons she learned over its seven month evolution.
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Rychlá, Eliška. "Téma rodiny v českém dramatu posledních dvaceti let". Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313668.

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Książki na temat "Siblings – Drama"

1967-, Garnhum Dennis, red. Lost: A memoir. Winnipeg: Scirocco Drama, 2011.

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Gleeson, Libby. Queen of the universe. New York: Scholastic Canada, 2001.

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Gleeson, Libby. Queen of the universe. Norwood, S. Aust: Omnibus Books, 1998.

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Marcus, Leah S. (Leah Sinanoglou), red. The Duchess of Malfi. London: Arden Shakespeare, 2009.

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Norman, Tony. The Race of a Lifetime. Mankato: Stone Arch Books, 2006.

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Norman, Tony. Race of a lifetime. Minneapolis: Stone Arch Books, 2007.

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1564-1616, Shakespeare William, i Potter Lois, red. The two noble kinsmen. London: Arden Shakespeare, 2002.

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ed, Potter Lois, red. The two noble kinsmen. Wyd. 3. Walton-on Thames: Thomas Nelson and Sons, 1997.

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1564-1616, Shakespeare William, i Waith Eugene M, red. The two noble kinsmen. Oxford [England]: Clarendon Press, 1989.

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1564-1616, Shakespeare William, Rasmussen Eric 1960- i Proudfoot G. R, red. The two noble kinsmen, 1634. Oxford: Published for the Malone Society by Oxford University Press, 2005.

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Części książek na temat "Siblings – Drama"

Larrington, Carolyne. "Sibling Drama: Laterality in the Heroic Poems of the Edda". W Myths, Legends, and Heroes, redaktor Daniel Anlezark, 169–87. Toronto: University of Toronto Press, 2011. http://dx.doi.org/10.3138/9781442662056-012.

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Park, Mee-Jeong. "Solidarity Through Negotiated Interactional Identities in Korean". W Exploring Korean Politeness Across Online and Offline Interactions, 91–120. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-50698-7_5.

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AbstractThis paper shows how Korean speakers use different strategies to increase solidarity among newly acquainted interlocutors in performing common tasks by co-constructing through the negotiation process of their interactional identities and adjusting themselves to the right level of intimacy and/or politeness within the given interaction. According to (Swann, Journal of Personality and Social Psychology 53:1038–1051, 1987), 2008), “identity negotiation” refers to the processes where interactants try to find a balance between their interactional and identity-related goals, keeping a conflict-free relation between their interpersonal and intrapersonal interactions. The ways in which Korean speakers negotiate their situational and interactional identity will be illustrated using excerpts taken from TV talk shows, reality shows, or dramas where different participants achieve what is considered an adequate level of intimacy with their conversational partners within the given tasks as the show participants. In interactions where Korean speakers meet for the first time, it is very common to see how they exchange personal information. Among them, interlocutors’ age is very often exchanged at the very early stage of their encounter. In many reality shows and talk shows on Korean TV, participants often start their first-time encounter by asking about their age and work-related backgrounds. Interlocutors achieve an increased level of intimacy by assigning newinteractional identities to themselves, that of (a) friends (=same age), (b) siblings (=different age), or (c) senior/junior (work-related). Oftentimes, this process is streamlined by adjusting their speech styleand/or address terms that match their newly constructed identities in order to successfully perform their common tasks.

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"Family as Drama: Siblings". W Folktales and Storytellers of Iran. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755608423.ch-002.

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Rowe, M. W. "Childhood". W J. L. Austin, 23–40. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198707585.003.0003.

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Abstract This chapter considers the effects of the First World War on Austin’s childhood in Lancaster. These include the death of both his mother’s siblings and all his father’s friends, the flu pandemic, the Great Depression, and his father’s being forced to leave the family architectural practice and become a school bursar in St Andrews, Scotland. The chapter also describes the atmosphere in Austin’s family home and his early education at St Salvator’s prep school. Attention is paid to Austin’s character as a boy; his family’s love of music, drama, sport, and camping; his relations with his parents and siblings; the character of Austin’s headmaster; and the first signs of Austin’s academic brilliance.

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Boggess, Carol. "Family Loss and Brotherly Love". W James Still. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813174181.003.0019.

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This chapter tells of the death of his father, J. Alex Still, in October 1957 and the family drama that surrounded his decline. Still lost two other siblings, his oldest sister and his brother Tom. It was his youngest brother, Alfred, who caused him the most trouble and grief. Still supported Alfred financially and emotionally during his six-year tragic struggle with emphysema. The mounting bills from hospitals and care facilities were a major factor in Still’s taking a faculty position at Morehead State College in 1961.

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Findlay, Alison. "Sisterly Feelings in Cavendish and Brackley’s Drama". W Sibling Relations and Gender in the Early Modern World, 195–205. Routledge, 2017. http://dx.doi.org/10.4324/9781315243146-16.

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Krell, Marc A. "Beyond Borders:Richard Rubenstein’s Critique of Judaism in Relation to Christianity after the Holocaus". W Intersecting Pathways, 1–3. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195159356.003.0004.

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Abstract Following the Holocaust, Richard Rubenstein did not share Schoeps’s optimism in a shared redemptive history for Jews and Christians because he was unable to reconcile the image of God as “the ultimate, omnipotent actor in the historical drama” with the historical reality of the death camps. For Rubenstein, this portrayal of the biblical God of history must ultimately lead to the interpreta tion of the Holocaust as part of “God’s providential way of leading humanity to its final redemption.” As a result, Rubenstein came to the agonizing conclusion that after the Holocaust we are now in the age of the death of the historical God. Moreover, he rejected the Jewish mythical claim of chosenness associated with this transcendent God that has ignited a “two thousand year old sibling rivalry of Jew and Christian over who is the Father’s beloved child.” In his landmark book After Auschwitz (1966), Rubenstein criticizes the use of both Jewish and Christian religious myths because they created the historical climate for the Holocaust. He maintains that they should be abandoned to provide an opportunity for genuine dialogue between the two religious communities.

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"“I Have Long Desired to Cure You of Old Age”: Sibling Drama in the Later Heroic Poems of the Edda". W Revisiting the Poetic Edda, 162–78. Routledge, 2013. http://dx.doi.org/10.4324/9780203098608-18.

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