Gotowe bibliografie tematyczne / Violence – drama

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Gotowa bibliografia na temat „Violence – drama”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Violence – drama"

Balfour, Michael. "Drama, Masculinity and Violence". Research in Drama Education: The Journal of Applied Theatre and Performance 5, nr 1 (luty 2000): 9–21. http://dx.doi.org/10.1080/135697800114168.

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Shenfield, Robyn, i Monica Prendergast. "Curriculum violence in drama education". Research in Drama Education: The Journal of Applied Theatre and Performance 28, nr 3 (3.07.2023): 392–404. http://dx.doi.org/10.1080/13569783.2023.2219617.

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Nazir, Farrukh, Arshad Ali i Muhammad Farooq. "Social Taboos in Pakistani Prime Time Urdu Dramas". Global Regional Review IV, nr II (30.06.2019): 67–77. http://dx.doi.org/10.31703/grr.2019(iv-ii).08.

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The occurrence of social taboos and their frequencies on Pakistani television dramas was the core objective behind the conduction of this research work. The ultimate purpose was to find out the possible types of social taboos, frequently exposed social taboo, occurrence per drama and comparison of social taboos in these dramas. The analysis was carried out by using purposive sampling technique. The results showed that there were nine types of social taboos i.e. obscene language, nudity, disrespectful attitude, violence, drug abuse, racism, divorce, extra-material relation and abortion in Pakistani primetime Urdu dramas. The finding of the study demonstrated that obscene language was exposed more than the other social taboos, whereas the drama serial Sabaz Qadam was found having more social taboos as compare to other dramas. The occurrence of frequency of these social taboos was recorded as well. Drama Qissa Chaar Darvesh was highest in occurrence of disrespectful attitude and nudity.

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Safira, Ratih. "Analisis Semiotika Kekerasan Dalam Film Drama Korea The Penthouse: War In Life I". Communication & Social Media 2, nr 1 (29.07.2022): 7–13. http://dx.doi.org/10.57251/csm.v2i1.465.

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Analysis of Semiotics of Violence in the Korean Drama Film The Penthouse: War In Life Season 1 (Representation of Violence Scenes in Impressions of 15 Years of Age)" is the title of this study. This study aims to examine how The Penthouse: War In Life Season 1 of the Korean drama film The Penthouse depicts violence in the fifteen-year-old program. Representation theory and semiotic theory were employed by the author to analyze this research. The scene from The Penthouse: War in Life Season 1 of the Korean drama film serves as the subject of this study. The approach is a qualitative descriptive approach. With Charles Sanders Pierce's model's semiotic analysis technique, which employs the idea of triangle meaning, namely: sign (sign), sign reference (object), and use of sign (interpretant). The findings of this study can be seen in the way that the Korean drama film The Penthouse: War In Life Season 1 depicts symbols, items, and interpreters that are synonymous with violence. starting with murder, abuse of others' rights, bullying, and psychological violence.

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Ahya, Annisa Nurshifariani. "KEKERASAN VERBAL DALAM NASKAH DRAMA “PERANG BANJAR HAMPIR BERAKHIR” KARYA H. ADJIM ARIJADI (Verbal Violence In The Drama Text Of “Perang Banjar Hampir Berakhir” by H. Adjim Arijadi)". Sirok Bastra 9, nr 1 (30.08.2021): 93–104. http://dx.doi.org/10.37671/sb.v9i1.275.

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Penelitian ini bertujuan untuk mendeskripsikan kekerasan verbal yang terdapat pada naskah drama. Kekerasan verbal adalah bentuk kekerasan menggunakan kata-kata yang bisa menyakiti hati seseorang. Penelitian ini berjenis penelitian kualitatif dengan metode deskriptif. Sumber data berupa naskah drama “Perang Banjar Hampir Berakhir” Karya H. Adjim Arijadi dan data berupa kutipan kata dan kalimat dialog dalam naskah drama yang mengandung unsur kekerasan verbal. Teori yang digunakan adalah teori pragmatik tindak tutur direktif dan ekspresif. Teknik pengumpulan data dengan teknik catat, yaitu mencatat hasil temuan kekerasan verbal dalam naskah drama kemudian tahap pengolahan data dilakukan dengan aktivitas reduksi data, penyajian data, dan penarikan kesimpulan. Berdasarkan hasil analisis, menunjukkan bahwa tuturan yang paling banyak ditemukan yaitu pada tuturan yang mengandung kekerasan verbal bentuk mencela sebanyak 9 tuturan, sedangkan fungsi menolak yang paling banyak ditemukan pada tindak tutur direktif sebanyak 9 tuturan, dan fungsi rasa tidak senang yang paling banyak ditemukan pada tindak tutur ekspresif sebanyak 8 tuturan. This study aims to describe the verbal violence contained in drama scripts. Verbal abuse is a form of violence using words that can hurt someone. This research is a qualitative research with descriptive methods. The data sources are in the form of a drama script “The Banjar War Almost Ending” by H. Adjim Arijadi and the data are quotations of words and dialogue sentences in the drama script that contain elements of verbal violence. The theory used is the pragmatic theory of directive and expressive speech acts. The data collection technique uses note-taking techniques, namely recording the findings of verbal violence in a drama script and then the data processing stage is carried out by data reduction, data presentation, and conclusion drawing. Based on the results of the analysis, it shows that 9 utterances that contain verbal violence in the form of censure are mostly found, while the function of rejecting is mostly found in directive speech acts as many as 9 utterances, and the function of displeasure is mostly found in actions expressive speech in 8 speeches.

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Ningsih, Anastasia Juwita, i Tomi Arianto. "REPRESENTATION AND IMPACT OF SYMBOLIC VIOLENCE IN GOLDMAN’S “THE LION IN WINTER” STORY". eScience Humanity Journal 3, nr 1 (25.11.2022): 15–26. http://dx.doi.org/10.37296/esci.v3i1.49.

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Symbolic violence is a type of violence that is difficult to detect. However, this type of violence is really visible. It can be found in numerous forms and tactics throughout the entertain environment which is drama. Especially in “The Lion in Winter” drama. It is reflecfed the issue about the woman who had symbolic violence from her environment. Not only symbolic violence, the woman got gender inequality that continues to discredit her and patriarchal construction system that legitimizes gender inequality. Feminist approach applied to support the data in this research. This research used Bourdieu (1991) theory to analyze the representation of symbolic violence. Bourdieu used this notion to explain the mechanism by which the elite, or the ruling upper class, transmits their lifestyle to the ruling lower class. The method in this research applied in the descriptive qualitative method from Creswell (2009). To collect the data, this research used theory from Ratna (2004) which is regard to the actions and dialog performance. The story in the drama was studied using library research and a feminism perspective. The Result of the research showed that symbolic violence reflected from the main character who is becoming discrimination without relazing if she is in indoctrinate. The impacts of symbolic violence make the main character become betrayal, lying, disrespect, hatred speech, and insult.

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Gajda, Kinga Anna. "The Transformative Drama: The Case of Violence". Procedia - Social and Behavioral Sciences 159 (grudzień 2014): 468–72. http://dx.doi.org/10.1016/j.sbspro.2014.12.408.

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Zhu, Haiyan. "The Bottom Line in a Post-Truth Perspective". Highlights in Art and Design 6, nr 1 (29.05.2024): 10–12. http://dx.doi.org/10.54097/79c1nb64.

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In the environment of deepening globalization, the value of TV dramas in cultural dissemination, building national image and enhancing national cultural strength is becoming more and more prominent. As an important carrier of China's cultural communication, TV dramas have the important mission of spreading national culture, shaping national image and improving national cultural soft power. The article analyzes the drama "The Bottom Line" released in China from the perspective of post-truth, which mainly focuses on a series of legal issues arising from cyber violence to reflect human ethics.

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Yasin, Zaeem, Shazia Ismail Toor i Sidra Iqbal. "Content Analysis of Drama Promos: Exploring Instances of Violence Against Women across three Leading Pakistani TV Channels". Global Sociological Review IX, nr I (30.03.2024): 179–90. http://dx.doi.org/10.31703/gsr.2024(ix-i).16.

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This study investigates the portrayal of violence against women in Pakistani TV drama promos, employing Bandura’s Social Cognitive Theory. A quantitative content analysis of drama promos from three channels was conducted. The study revealed a staggering prevalence of violence, with 97% of the promos featuring some form of violence against women. In a bid to determine the frequency of foul language across all the channels, only 1% was found. The analysis also revealed that the overwhelming majority of violence took place in domestic settings, accounting for 77 percent of all cases. 8% of the cases and intimate partners and relative females were often the perpetrators or victims of violence, accounting for 40 percent. 4% and 23. respectively, it was observed in 2 out of 100 instances, and 2 out of 100 instances, respectively. These results provided further evidence of the pattern of physical violence portrayed in these channels, which indicated the violent portrayal of women.

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Aznar Canet, Jorge. "GOLPE TRAS GOLPE: VIOLENCIAS EN MORIR (UN INSTANTE ANTES DE MORIR) Y LA SANGRE, DE SERGI BELBEL". Acotaciones. Revista de Investigación y Creación Teatral 45 (18.12.2020): 223–52. http://dx.doi.org/10.32621/acotaciones.2020.45.08.

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Over the last few decades, we have witnessed how violence in fiction —as much in the television and cinema realm as in the theatre— has considerably multiplied. Sergi Belbel elaborates on various forms of violence and aggressiveness throughout his drama production, particu- larly in his plays Morir (un instante antes de morir) and La sangre. The aim of this article is to systematize the diverse displays of these phenomena in both texts on the basis of the taxonomies proposed by psychiatrist Luis Rojas Marcos in Las semillas de la violencia and biopsychologist John W. Renfrew in Agresión: naturaleza y control with a view to elucidate what types of violence and aggression are more recurrent and to draw conclu- sions on the function they play.

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Rozprawy doktorskie na temat "Violence – drama"

Berridge, Susan. "Serialised sexual violence in teen television drama series". Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2326/.

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This thesis examines the kinds of stories about teenage sexual violence that are enabled (or not) by US and British teen television drama series between 1990 and 2008. This genre is centrally concerned with issues of sexuality and, in particular, sexual vulnerability as teenage characters negotiate the transition from childhood to adulthood. Sexual violence narratives are common within this context. This thesis argues that a fuller understanding of representations of sexual violence is enabled by contextualising these narratives in relation to overall series’ and generic contexts. I employ a structural methodology to map where these storylines occur within series’ and generic structures across fourteen texts, uncovering striking patterns that point to the value of analysing several programmes alongside one another. This then provides the starting point for a deeper textual analysis of how sexual violence functions narratively and ideologically. Through doing this, I am able to provide insights into a variety of different forces that shape how these narratives are framed. Contextualising my analysis of representations of sexual violence allows me to account for the specificities of episodic and serial narrative forms, the generic hybridity of individual programmes, the wider conventions of the teen drama series genre, the gender of the series’ protagonist and US and British contexts. Additionally, I identify the genre’s dominant sexual norms and explore how these norms intersect with representations of sexual violence.

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Naicker, Kivithra. "Questions for Amma: Tracing the manifestations of violence on the South African Indian Female body". Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29586.

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“[i]n the eyes of the law, a woman is both Eve and Eva. As a pure, fragile female she must be specially protected; as a seductive object, from whom men must be protected. In both cases women are the victims” (Navi Pillay in Gqola, 2015: 36). This research investigates performance as a medium through which the South African Indian female body transgresses and transcends the limitations and barriers of identity, culture and society. As this study positions the brown female body as a site for violence and codification, it challenges the mythical and stereotypically gendered representations of brown females in media and culture. In examining the performance of gender through the performative case studies supporting this research, this study critically engages with the fluid and shifting territory of identity and culture, tracing a feminist tradition beyond western notions, challenging overlooked cultural and domestic injustices which perpetuate a culture of patriarchy. Rape culture thrives on manufacturing power and fear, with rape being “sexualised violence” that has “survived as long as it has because it works to keep patriarchy intact” (Gqola, 2015: 21). Through performance, this study documents the manifestations of violence on the brown female body, theoretically engaging with how subtle and surreptitious forms of violence work to reinforce patriarchy playing into rape culture, perpetuating a cycle of oppression. In examining the 'tradition’ of Indian theatre in South Africa, this research examines the theatrical devices used to express anxieties, crisis of identity and representation, focusing on the South African Indian female experience through an auto-ethnographical study interrogating my identity and position as a South African Indian (Hindu-Tamil) female, artist, and feminist scholar. This study also unpacks the complexities and contradictions embedded within the representations of the brown female body in theatre, 'Indian’ and Hindu culture through a feminist lens, arguing that gender stereotypes perpetuate a cycle of oppression; highlighting ways in which the brown female body is trained and disciplined into performing as an Indian woman.

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Ajumeze, Henry Obi. "The biopolitics of violence in the drama of the Niger Delta". Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29522.

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The representation of the Niger Delta insurgency in cultural texts is often registered from the viewpoint of human history, an approach that foregrounds the politics of resistance against the multinational oil corporations in ways that ignore the contribution of the non-human elements in the historical struggles in the region. In this study, I seek to understand the ways that the Niger Delta landscapes and environment are imagined in the works that I describe as the Niger Delta drama. Drawing on a number of plays to reflect on the different historicizations of spaces in the region, I examine and analyse the ways in which these spaces exercise social and political agencies in the unfolding events in the region. I tentatively delineate the region’s history into two analytic epochs: pre-oil and oil modernity Niger Delta. Though noting the centrality of the creeks and swamps in both temporal contexts, I argue that the drama of the pre-oil modernity textualized the "ontology of water" as a site of socioeconomic and ecological relations with the people who inhabit the Delta terrain. In the event of oil modernity, these spaces and relationships are reframed in the material transformations of the region’s landscape and environment from a site of decay and degradation to that of material recalcitrance and revolt that petro-violence provokes. In that vein, I treat the spaces represented by the creeks as "spaces of exception" - a phrase coined by Giorgio Agamben to explain how political democracies exclude certain zones to legitimise state terror - in which biopolitical securitisations are programmatically unleashed on trouble-prone geographies in ways that reduce the citizens to the status of bare-life. Although Agamben has identified the concentration camps as the paradigmatic basis of the modern state of exception, I propose that the creeks of the Delta offer an exemplary case that is consistent with bare life - a space as much excluded as included in the sense of Agamben’s paradoxical formulation of homo sacer, where life is violently exposed to the state apparatus of repression. Texts situated within the frame of exclusion and violent geographies deploy a poetics of waste and decay, what I term "environmental scatology" to capture the condition of bare life in the Delta, and reflect on the state of abandonment and invisibility that underwrites the exclusion. At other times, the texts illustrate how the ontology of water and the knowledge that it enables construct the people's mode of resistance, articulating ways in which the seaweeds and crocodiles that inhabit the swamps are entangled in the violent political ecology of the region. I read these texts as inaugurating a truly environmental drama in which the human-nonhuman nature is entangled in the performance of political resistances in the violent geography of the Delta.

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Reznek, Jennie. "Moving ideas about moving bodies : teaching physical theatre as a response to violence and the violated body". Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11377.

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Includes bibliographical references.
Includes abstract.
In this thesis I explore my obsession with teaching the physical theatre body over the past twenty-five years.Two sets of questions are proposed: How does the teaching of physical theatre respond to violence and the violated body; and how does pedagogy change when it moves from one context to another? Firstly, I argue that the pedagogy developed by Jacques Lecoq in Paris responded like a pendulum to the extreme violence perpetrated on bodies during the Second World War. I argue that my own practice, influenced by my two years of study at École Jacques Lecoq (1984-1986), continued this tradition by responding to what, I propose, existed as a ‘culture of violence’ in South Africa from the period of colonialism through the apartheid era and into the present. I analyse the impact of violence on the body by focusing on three consequences - stillness, erasure and rupture - and come to an understanding of how the teaching of physical theatre, as per Lecoq and myself, counters all three with a focus on the moving, articulate, individuated body capable of transformation. Secondly, I propose that pedagogy responds to geographic, philosophical and historical contexts and is subject to modification when context changes. The methodology has included conventional research, a comparative analysis of the two contexts, and an analysis of my own experiences - from notebooks that I have kept - as a student and teacher.

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MacKenzie, Sarah. "Representations of Rape and Gendered Violence in the Drama of Tomson Highway". Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28696.

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In The Rez Sisters (1986), Dry Lips Oughta Move to Kapuskasing (1989), and Rose (1999) renowned Cree dramatist Tomson Highway mounts a dramaturgical critique of colonialism, focusing most prominently upon the disenfranchisement of Native women and the introduction of Western gender roles into First Nations cultures. Within each of the three "Rez Plays," he employs the metaphor of rape to depict cultural, territorial and spiritual dispossession brought about by colonization. However, in hegemonic narratives of colonization, Indigenous women are similarly represented in connection with the land and the metaphor of rape is used to portray colonial takeover; as colonial domination heightened, literary portrayals of Indigenous peoples, particularly women, became increasingly demeaning. This thesis investigates the extent to which Highway's works can serve as truly subversive, liberating texts given that the recurring portrayals of sexual violence in the "Rez Plays" reinvigorate dangerous, misogynistic stereotypes. Situating Highway's plays within a framework of contemporary feminist postcolonial theory, this thesis problematizes the repeated use of gender specific representations of victimization in the "Rez Plays."

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Stoffregen, Amy. "Utilizing peer drama as primary prevention of dating violence against adolescent females". Connect to resource, 2007. http://hdl.handle.net/1811/28528.

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Thesis (Honors)--Ohio State University, 2007.
Title from first page of PDF file. Document formatted into pages: contains 22 p.; also includes graphics. Includes bibliographical references (p. 21-22). Available online via Ohio State University's Knowledge Bank.

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Watson, Regina. "The Effect of a Drama on Young Adults' Attitudes About Domestic Violence". ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1662.

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Intimate partner abuse has been and remains a pervasive problem that has been documented in every race, religion, class, and level of education. This study presented the rationale for achieving positive social change by examining the problem through prevention rather than reaction and intervention. Although many theories of causation have been presented at various times, none has been proven or offers a complete explanation. Social ecological theory examines the interaction of individual, community, relational, and societal influences on the development of attitudes and behavior acceptance. This pre and post-survey group, quasi-experimental study examined the effects of an intervention on attitudes about intimate partner abuse, specifically in young adults. The intervention was a 30-minute drama about dating abuse. Seventy-nine young adults from an online participant pool completed the Domestic Violence Myth Acceptance Scale (DVMAS) just prior to and after the intervention. Cronbach's alpha test of reliability was conducted on the 4 subscales of the DVMAS. Demographic data were presented on age, marital status, gender, and church attendance. A MANOVA did not demonstrate a significant difference between the overall scores on the DVMAS or the 4 sub scales before and after the intervention (p = .230). This research contributes to social change by adding to the body of knowledge about applications of social ecological theory to intimate partner abuse prevention. Attitudes and behaviors that lead to the perpetration or acceptance of intimate partner abuse do not arise from a single incident, discussion, or point in time. Multiple levels of exposures and multiple exposures contribute to the behavior and ultimately will be necessary for its prevention.

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Waidley, Karin Ann. "Violence interrupted : American youth and theatre in crisis /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/10227.

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Majumder, Doyeeta. "The 'New Prince' and the problem of lawmaking violence in early modern drama". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11969.

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The present thesis examines the fraught relationship between the sixteenth-century formulations of the theories of sovereign violence, tyranny and usurpation and the manifestations of these ideas on the contemporary English stage. The thesis will attempt to trace an evolution of the poetics of English and Scottish political drama through the early, middle, and late decades of the sixteenth-century in conjunction with developments in the political thought of the century, linking theatre and politics through the representations of the problematic figure of the usurper or, in Machiavellian terms, the ‘New Prince'. I will demonstrate that while the early Tudor morality plays are concerned with the legitimate monarch who becomes a tyrant, the later historical and tragic drama of the century foregrounds the figure of the illegitimate monarch who is a tyrant by default. On the one hand the sudden proliferation of usurpation plots in Elizabethan drama and the transition from the legitimate tyrant to the usurper tyrant is linked to the dramaturgical shift from the allegorical morality play tradition to later history plays and tragedies, and on the other it is reflective of a poetic turn in political thought which impelled political writers to conceive of the state and sovereignty as a product of human ‘poiesis', independent of transcendental legitimization. The poetics of political drama and the emergence of the idea of ‘poiesis' in the political context merge in the figure of the nuove principe: the prince without dynastic claims who creates his sovereignty by dint of his own ‘virtu' and through an act of law-making violence.

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Lorenzi, Lucia Marie. "This page intentionally left blank : silence and sexual violence in contemporary Canadian literature and drama". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/56758.

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Spanning a variety of genres, including autobiography, fiction, and drama, “This Page Intentionally Left Blank: Silence and Sexual Violence in Canadian Literature and Drama” investigates the use of silence as an aesthetic and political strategy of resistance in depictions of sexualized and gendered violence. I argue that by using silence, selected authors and playwrights challenge expectations of how violence is to be articulated, particularly because speech about violence frequently risks being fetishized, appropriated, or even risks enacting representative violence itself. The introduction establishes a methodological framework for my analysis, tracing a history of silence and its relationship to sexual assault narratives. In Chapter 1, I discuss histories of censorship in order to set up a historical and political context for silence as a tool of oppression. In doing so, I also situate censorship and silencing as a nuanced phenomenon, discussing in particular the ways in which reluctant speech may be imagined as a politics of care for the reader. Chapter 2 investigates the genre of life writing in relation to the narrative expectations of legal testimony. I demonstrate how judicial expectations of speech affect autobiographical works, and how Maggie de Vries’ memoir of her sister’s life (and death) consciously operates outside of these discursive boundaries. In Chapter 3, I move towards a discussion of drama, with a particular focus on how playwrights Marie Clements and Colleen Wagner navigate embodied representations of sexual assault and their legacies within theatrical history. My final chapter examines works of fiction by Emma Donoghue and Anne Stone, articulating their relationship to and contravention of generic expectations of popular fiction. This chapter explores the fraught relationship between sexual assault and discourses of fiction and fact. This dissertation offers several important contributions to the fields of both trauma theory and Canadian literature: it dismantles the binary between speech and silence in order to form a more nuanced understanding of experience and representation; it theorizes how recuperative silences function across a number of genres; finally, it offers a unifying study of sexualized violence across the diverse field of Canadian literature.
Arts, Faculty of
English, Department of
Graduate

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Książki na temat "Violence – drama"

A, Redmond James M., red. Violence in drama. Cambridge: Cambridge University Press, 1991.

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Cole, Soji. Maybe tomorrow: Drama. Ibadan, Oyo State, Nigeria: Kraftgriots, 2013.

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Fava, Giuseppe. Violence: A Sicilian drama in three acts. Mineola, NY: Legas, 2007.

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Feehily, Stella. Dreams of violence. London [England]: Nick Hern Books, 2009.

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Dahl, Mary Karen. Political violence in drama: Classical models, contemporary variations. USA: UMI Research, 1988.

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Yi, Wŏn-jae, Chŏng-min Kim, Sŭng-wan Yu, Hye-jŏng Kang, Tu-hong Chŏng i Pŏm-su Yi. Tchakp'ae: The city of violence. [United States]: Weinstein Co., 2007.

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Malkin, Jeanette R. Verbal violence in contemporary drama: From Handke to Shepard. Cambridge [England]: Cambridge University Press, 1992.

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Adetutu, Sola. Swamp of violence: The Resource stories. Abeokuta, Nigeria: Published by Resource Books, 2001.

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Leo, Fernando Di. Naked violence: I ragazzi del Massacro. United States]: Rarovideo, 2013.

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Lipovet︠s︡kiĭ, M. N. (Mark Naumovich), red. Performing violence: Literary and theatrical experiments of new Russian drama. Bristol, UK: Intellect, 2009.

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Części książek na temat "Violence – drama"

Márkus, Zoltán. "Violence in Jacobean Drama". W A Companion to British Literature, 264–79. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch44.

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Ganzevoort, R. Ruard. "The Drama Triangle of Religion and Violence". W Religion and Violence, 17–29. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-18302-8_2.

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Pinedo, Isabel C. "Violence against women and women who kill". W Difficult Women on Television Drama, 109–38. London; New York: Routledge, 2021. | Series:: Routledge, 2020. http://dx.doi.org/10.4324/9781003031598-4.

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Fernández-Morales, Marta. "The New Breast Cancer (Im)patient: Female Revolt against Biomedical Violence in US Drama". W Performing Gender Violence, 97–112. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137010568_7.

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Wood, Andy. "Collective Violence, Social Drama and Rituals of Rebellion in Late Medieval and Early Modern England". W Cultures of Violence, 99–116. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230591820_5.

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Noble, Steven. "Drama as Resilience to Covert School Violence and Incivility". W Global Perspectives on Microaggressions in Schools, 145–57. New York, NY : Routledge, 2021. | Series: Routledge research in educational equality and diversity: Routledge, 2021. http://dx.doi.org/10.4324/9781003089681-13.

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Sager, Jenny. "The Aesthetics of Violence in Selimus". W The Aesthetics of Spectacle in Early Modern Drama and Modern Cinema, 127–39. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137332400_7.

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Puccioni, Linda. "Codificazione della violenza: l’Elektra di Hugo von Hofmannsthal". W Studi di letterature moderne e comparate, 95–106. Florence: Firenze University Press, USiena Press, 2023. http://dx.doi.org/10.36253/979-12-215-0278-7.08.

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Hugo von Hofmannsthal's Elektra constitutes an important turning point in the transition from early lyric to theatre. Inspired by Sophocles' drama, but with elements more similar to Euripides', it proposes a linguistic connotation, characterisation of the characters and a completely innovative and unconventional staging. Blood, a concrete representation of the unprecedented violence that characterises the entire drama, is the red thread that links the succession of events. Words turn into weapons and the protagonist's thirst for vengeance drives the action. The finale culminates in a supreme act of violence that sees the roles reversed: the executioners become victims and the victims executioners. This is the only solution to end the circle of brutal suffering.

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Forsyth, Jennifer. "Cutting Words and Healing Wounds: Friendship and Violence in Early Modern Drama". W Violent Masculinities, 67–81. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137344755_4.

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Sonn, Christopher, Karina Smith i Kirsten Meyer. "Challenging Structural Violence Through Community Drama: Exploring Theatre as Transformative Praxis". W Peace Psychology Book Series, 293–308. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-18395-4_15.

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Streszczenia konferencji na temat "Violence – drama"

Moļņika, Baiba. "Drama Education for Violence Prevention: Approaches and Challenges". W 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.60.

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Violence in schools is a socially and culturally complex phenomenon that affects not only the victim and the abuser but everyone, including eyewitnesses, parents, and educators. Drama education provides a unique experience in reducing violence because it involves both the mind and the emotions The adolescent is the age stage that is influenced by many external and individual factors, such as those related to the change in the training system, age development, change of interests and change of class dynamics, etc. All of these factors can lead to an increase in the risk of stress background and violence situations. The study explores violence prevention through the lens of drama. The review reveals several approaches for drama education with connection to personal development and violence prevention, including, “Forum Theatre” and “Process drama”. The study provides recommendations to emphasize the role of drama education in reducing violence in schools.

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Pisa Cañete, Maria Teresa, i Montserrat Morales Peco. "Función y simbología del agua en La guitare de Michel del Castillo". W XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3038.

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Diferentes elementos acuáticos intervienen en la recreación del decorado que acompaña las desventuras del enano deforme protagonista de este relato que Michel del Castillo publicó en 1958.El mar, omnipresente en el paisaje gallego sirve de marco a la acción, aparece animado de vida propia y es percibido como una divinidad femenina maléfica y violenta, como una celosa enamorada que arrastra a la muerte por despecho, por amor o deseo insatisfecho. En ocasiones adquiere, en la percepción del protagonista, el rostro de una sirena. Se establece una simbiosis perfecta entre la ensoñación de este espacio acuático y el propio protagonista, marginado, debido a su deformidad y fealdad, aislado por los demás, solitario y perseguido, víctima del drama de la diferencia, a quien la añorada unión con el otro resulta imposible.Otros elementos acuáticos, como la lluvia y la bruma, vienen a recrear un espacio carcelario, lúgubre y triste que, como el spleen baudelairiano, abruma el alma de nuestro protagonista, presa de una desolación absoluta, bajo el signo recurrente de la «morriña». A este respecto hay que decir que el mar no sólo es ira, rabia y muerte sino también ese espacio infinito, sin límites, en suma la liberación, con la que sueña también el personaje atormentado.Asimismo, el paisaje se presenta como el escenario del enfrentamiento entre los diferentes elementos, tierra, mar y cielo.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3038

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