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1
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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Ramirez, Elizabeth C., Mary Karen Dahl, Marion Peter Holt, George W. Woodyard i Miguel Pinero. "Political Violence in Drama: Classical Models, Contemporary Variations". Theatre Journal 40, nr 4 (grudzień 1988): 572. http://dx.doi.org/10.2307/3207911.
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김영덕. "Postimperial Condition and Violence in Postwar British Drama". Journal of English Language and Literature 53, nr 1 (marzec 2007): 175–201. http://dx.doi.org/10.15794/jell.2007.53.1.008.
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Hermoso Lloret, Diana, Genís Cervantes Ortega, Josep Mª Blanch i Paola Ochoa Pacheco. "Drama therapy for the prevention of workplace violence". Archivos de Prevención de Riesgos Laborales 15, nr 2 (15.04.2012): 79–85. http://dx.doi.org/10.12961/aprl.2012.15.2.03.
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Horeck, Tanya. "Screening Affect: Rape Culture and the Digital Interface in The Fall and Top of the Lake". Television & New Media 19, nr 6 (27.04.2018): 569–87. http://dx.doi.org/10.1177/1527476418768010.
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Although it often goes unremarked, digital screens are a key point of commonality across the many different transnational renditions of the story of violence against girls and women found in contemporary TV crime drama. The Fall (United Kingdom, 2013–) and Top of the Lake (United Kingdom/Australia/New Zealand/United States, 2013–) are two striking examples of TV crime dramas that frame their self-conscious interrogation of rape culture through digital media. Considering the mutual imbrication of feminist politics and the deployment of new media technologies on these shows, this essay considers how the digital interface functions as a way of mediating viewer response to violence against women. Resisting a reading of digital technologies as either inherently oppressive or inherently liberatory, the essay explores how these TV series navigate the tension between the simultaneous violence of new media and its investigative/feminist/affective potential.
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Rajendran, Chettiarthodi. "Celebrating Violence". Cracow Indological Studies 26, nr 2 (24.07.2024): 205–18. http://dx.doi.org/10.12797/cis.26.2024.02.08.
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This paper is an attempt to probe into depiction of violence and death in the classical Sanskrit drama, especially in its avatar as Kūṭiyāṭṭam, a living performative tradition related to the temple theatre of Kerala. Stage depictions of terrible scenes of violence, and death as the culmination of it, will be examined here in the context of semiotics by including in its ramifications costume, colour scheme, tonal features and acting. The paper will first review the attitude of the Nāṭyaśāstra to presenting darker side of life on the stage and then turn to issues related to portrayal of violence and death in Kūṭiyāṭṭam. It will also take the opportunity to briefly touch upon other classical performative art forms, like Kathakaḷi, which are based on epic and Purāṇic themes, and are noted for their prominent portrayal of violence on stage.
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Lima, Rainério Dos Santos. "Memórias da violência no drama pós-catástrofe / Memories of Violence in Post-Catastrophe Drama". Cadernos Benjaminianos 15, nr 2 (13.03.2020): 27. http://dx.doi.org/10.17851/2179-8478.15.2.27-48.
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Resumo: A partir, principalmente, de Walter Benjamin e Jean-Pierre Sarrazac, esse trabalho analisa a insurgência na dramaturgia de Plínio Marcos de um embrião narrativo que, fazendo uso da memória traumática dos personagens e da crítica do poder como violência (Gewallt), encontrará sua realização plena em Querô, uma reportagem maldita, romance e drama da década de 1970. Na adaptação teatral do romance, a forma biográfica da matéria rememorada, princípio constitutivo da ação dramática, impôs mudanças na fábula que, negando a estrutura sintagmática da ação, passou a assumir uma configuração pós-catástrofe da cena, na qual o passado de violências do personagem é agenciado no presente da enunciação por uma “dramaturgia do retorno” e por um processo descontínuo e disjuntivo das lembranças. Na comparação entre drama e romance, compreende-se como a memória da educação sentimental de Querô coloniza a ação teatral, caracterizando uma dramaturgia da intrassubjetividade em que o personagem, testemunha de si mesmo, narra a própria Paixão.Palavras-chave: crítica da violência; drama pós-catástrofe; Plínio Marcos.Abstract: Grounded mainly on Walter Benjamin and Jean-Pierre Sarrazac’s work, this article analyzes the insurgency in Plinio Marcos’s dramaturgy of a narrative embryo that, using the traumatic memory of characters and the critique of power as violence (Gewallt), will find its full materialization in Querô, a Damned Report (“Querô, Uma reportagem maldita”), romance and drama on the 1970s. In the theatrical adaptation of the novel, the biographical form of the remembered matter, constitutive principle of dramatic action, imposed changes in the fable that, denying the syntagmatic structure of the action, began to assume a post-catastrophe configuration of the scene in which the violent past of the character is settled in the present of the enunciation by a “dramaturgy of return” and by a discontinuous and disjunctive process of remembering. Comparing the drama and the novel, one understands how the memory of Querô’s sentimental education colonizes the theatrical action, characterizing a dramaturgy of intra-subjectivity in which the character, witness of himself, narrates his own Passion.Keywords: criticism of violence; post-catastrophe drama; Plinio Marcos.
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Lee, Daun. "A Study on the Reproduction of Violence in Korean Drama: Focusing on TVING Original <Bargain>". Korean Society of Culture and Convergence 45, nr 5 (31.05.2023): 611–21. http://dx.doi.org/10.33645/cnc.2023.05.45.05.611.
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This paper aims to pay attention to the situation in which Korean dramas that have recently moved to the OTT platform reproduce violence in a much more brutal way than before, and to examine in-depth the patterns and meanings of violence in dramas. Korean dramas take on different aspects before and after the emergence of OTT platforms and present new storytelling along with the changes in the times and the viewers. One such change is the 'reproduction of active violence'. <Bargain>,(TIVING, 2022) which showed considerable activity in reproducing violence, shows that the current society is an era of clear violence by showing a society where violence is recommended by capital logic and a person who is the subject and target of violence to become a survivor. In conclusion, it can be analyzed that the reason why <Bargain> and OTT platform dramas chose to pursue brutality and display violence excessively is to cause shock and immediate reaction from viewers.
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Razali, Mohamad. "Uncovering The Elements, Viewer’s Perception and Factors of Violent Content in Netflix ‘You’ Drama Series". Jurnal Komunikasi: Malaysian Journal of Communication 38, nr 2 (29.06.2022): 231–50. http://dx.doi.org/10.17576/jkmjc-2022-3802-14.
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This qualitative study focuses on the elements, viewer's perception and factors of violent content in the Netflix 'You' drama series. Three research objectives were addressed: (1) To analyse the elements that influence the viewers' perception to watch Netflix 'You' drama series, (2) To identify the viewers' perception of reality in the violent content portrayed in the Netflix 'You' drama series, and (3) To identify the contributed factors generating the viewers' perception of reality on the violent content portrayed in the Netflix 'You' drama series. The Cultivation Theory guided this study where meaningful findings were obtained through in-depth interviews with six (6) informants who subscribed to Netflix, watched 'You' drama series for season one and season two, which lived in the Klang Valley. Data analysis were conducted with data gathering and using the NVivo to analyse the coding. The thematic analysis was used to analyse the data. Overall, the findings revealed significant themes in every research questions. For RQ1, the elements that influence the viewers' perception of watching 'You' drama series on Netflix were genre selection, binge-watching, and attraction to violent content. For RQ 2, the viewers' perception of reality on the violent content portrayed in the Netflix 'You' drama series has been revealed through the act of murder and torture, brutal actions, anxiety, fear and cautiousness. The RQ3 has revealed the accepting and dismissing violence, personal, and other experiences were the contributed factors generating the viewers' perception of reality on the violent content portrayed in the Netflix 'You' drama series. Keywords: Perception of violent content, perception of reality, violence portrayal, cultivation theory, binge-watching.
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Vandenbroucke, Russell. "Violence Onstage and Off: Drama and Society in Recent American Plays". New Theatre Quarterly 32, nr 2 (13.04.2016): 107–20. http://dx.doi.org/10.1017/s0266464x16000026.
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Direct and bloody violence has a long history on stage. In recent years, a different mode of violence can be distinguished in the work of prominent American playwrights – less direct than indirect, more covert than overt, and likely to affect a group rather than individuals. In this article Russell Vandenbroucke applies concepts from Norwegian sociologist and Peace Studies scholar Johan Galtung to examine structural and cultural violence in Suzan-Lori Parks's Father Comes Home from the Wars (Parts 1, 2, & 3) and traces similar representations of violence in Anna Deavere Smith's Fires in the Mirror, Tony Kushner's Angels in America, Lynn Nottage's Ruined, Ayad Aktar's Disgraced, The Laramie Project by Moisés Kauffman and the Tectonic Theater Project, and Tim Robbins's adaptation of Dead Man Walking by Sr Helen Prejean. These writers have in common the status of traditional outsiders – black, female, gay, Muslim – and this informs their engagement in the social and political vitality of the stage. The shift in focus of these plays from direct violence echoes observations in Steven Pinker's recent The Better Angels of Our Nature: Why Violence Has Declined. Russell Vandenbroucke is Professor of Theatre Arts at the University of Louisville and Director of its Peace, Justice, and Conflict Transformation programme. He previously served as Artistic Director of Chicago's Northlight Theatre. His publications include Truths the Hand Can Touch: the Theatre of Athol Fugard and numerous articles on South African theatre.
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Baer, Allison L., i Jacqueline N. Glasgow. "Take the Bullies to Task: Using Process Drama to Make a Stand". English Journal 97, nr 6 (1.07.2008): 79–86. http://dx.doi.org/10.58680/ej20086657.
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To “empower students to think and act more effectively” concerning violence and bullying within schools, Allison L. Baer and Jacqueline N. Glasgow suggest close examination and discussion of literature that foregrounds violence and bystander participation. Baer and Glasgow recommend several useful novels for addressing the various roles of bystanders. Additionally, they use process drama as a safe activity to help students creatively and realistically explore problems and solutions when confronted by violence.
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von Dassanowsky-Harris, Robert, i Jeanette R. Malkin. "Verbal Violence in Contemporary Drama: From Handke to Shepard". German Quarterly 67, nr 3 (1994): 443. http://dx.doi.org/10.2307/408660.
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Stafford, Tony J., i Jeanette R. Malkin. "Verbal Violence in Contemporary Drama: From Handke to Shepard". Theatre Journal 45, nr 2 (maj 1993): 266. http://dx.doi.org/10.2307/3208941.
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Otu, Oyeh O., i Obumneme F. Anasi. "Oil politics and violence in postcolonial Niger Delta drama". African Research Review 11, nr 1 (27.02.2017): 171. http://dx.doi.org/10.4314/afrrev.v11i1.12.
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Sedycias, João. "Dying for Love: Eros and Violence in Lopean Drama". Bulletin of the Comediantes 68, nr 1 (2016): 1–17. http://dx.doi.org/10.1353/boc.2016.0015.
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Denby, Mark. "Drama in Education: conflict and violence in the curriculum". Research in Drama Education: The Journal of Applied Theatre and Performance 1, nr 1 (luty 1996): 130–32. http://dx.doi.org/10.1080/1356978960010113.
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Hawker, Lynn. "The Drama Triangle in the Treatment of Domestic Violence". Transactional Analysis Journal 30, nr 2 (kwiecień 2000): 139–44. http://dx.doi.org/10.1177/036215370003000206.
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Kenasri, Priscila Asoka, i Lidwina Mutia Sadasri. "Romanticized Abusive Behavior by Media Narrative Analysis on Portrayal of Intimate Partner Violence Romanticism in Korean Drama". Jurnal Humaniora 33, nr 3 (27.10.2021): 202. http://dx.doi.org/10.22146/jh.68104.
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Intimate relationships are often depicted in terms of a beautiful idealism, especially in the mass media. However, the evidence shows a vast number of women while in such a relationship have been subjected to physical, emotional, and/or sexual violence by their partner. Media plays an important part in shaping and reflecting social life, resulting in audience consumption of romanticized abusive behaviour. Its audiovisual content can perpetuate the point of view that some violence is normal – even romantic. Such a point of view can be found in Korean dramas, which have been popular with its Indonesian audience for some 20 years and do not show any signs of a decline in popularity. This study aims to reveal a narration of intimate partner violence portrayal as romance in the Korean drama The Heirs (2013). A qualitative method is used drawing on Propp's Seven Characters and Greimas' Actantial narrative analysis model. The research results show how The Heirs project romantic imagery masking abusive traits by establishing the male main character as a subject who forces a relationship without accepting rejection. Moreover, this study found the romanticization of abuse was amplified by depicting the female protagonist as an object expressing her objection to giving male characters the thrill of the chase. The findings in this research is consistent with the concept of romanticized media, particularly in portraying the romanticization of intimate partner violence.
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Roper, Jane. "Goldmark’s wild Amazons drama and exoticism in the Penthesilea overture". Studia Musicologica 57, nr 3-4 (wrzesień 2016): 295–324. http://dx.doi.org/10.1556/6.2016.57.3-4.2.
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Goldmark was the first of several composers to write a work based on Heinrich von Kleist’s controversial play, Penthesilea. Early critical opinion about the overture was divided. Hanslick found it distasteful, whereas others were thrilled by Goldmark’s powerful treatment of the subject. Composed in 1879, during the 1880s Penthesilea became established in orchestral repertoire throughout Europe and America. The overture represents the conflict of violence and sexual attraction between the Queen of the Amazons and Achilles. Exoticism in the play is achieved by contrasting brutal violence, irrational behaviour and extreme sensual passion. This is recreated musically by drawing on topics established in opera. Of particular note is the use of dissonance and unexpected modulations, together with extreme rhythmic and dynamic contrast. A key feature of the music is the interplay between military rhythms representing violence and conflict, and a legato, rocking theme which suggests desire and sensuality.
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Gebauer, Gunter. "The Undifferentiation of Mimetic Violence: From Oedipus to COVID-19". CounterText 8, nr 1 (kwiecień 2022): 88–102. http://dx.doi.org/10.3366/count.2022.0258.
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In the Poetics Aristotle limited the concept of mimesis to the aesthetic relationship between drama and the actions of its mythical models. In the 1970s, having found representations of mimetic relationships in the myths themselves, René Girard argued that they are the cause of a violence that disrupts the mythical communities from within. Later, Girard extended the concept of mimesis to natural processes: By destroying the differences between model and imitation mimetic processes in nature and in the social world unleash violence. In this essay two important examples of dedifferentiation are discussed and compared: Sophocles’ Oedipus dramas and the COVID-19 pandemic crisis in our present time. In both examples, successive mimetic processes subvert the natural and economic foundations of the state, and primarily its framework of rights and duties. The pandemic process destroys the biological, political, and social systems of differences and gives rise to fights for domination over the state.
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Echo Dilus i Luluk Isani Kulup. "KETIDAKADILAN GENDER DALAM NASKAH DRAMA MATA ADIL MATA TAKDIR KARYA TOTENK MT RUSMAWAN". Buana Bastra 7, nr 1 (3.02.2022): 16–26. http://dx.doi.org/10.36456/bastra.vol7.no1.a5044.
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The purpose of this study is to describe gender injustice in the drama script Mata Adil Mata Takdir by Totenk MT Rusmawan. The theory used in this research is Fakih's theory which refers to gender injustice towards women as a support in his study. The method used in this study is a qualitative research method. Data collection techniques use words, sentences, and paragraphs. The technical analysis of the data used is reading, interpreting and concluding. The results of the research found in the drama script Mata Adil Mata Takdir there are gender injustices experienced by female characters by men contained in the drama script. Women leaders experience gender injustice by men in the form of job impoverishment, women 's numbering, and violence against women in terms of physical, psychological and rape violence. Conclusions in this study the forms of gender injustice in the lives of women leaders Gender differences have given birth to various injustices, both men and especially against women. injustice is a system and structure of both men and women become victims of the system. Suggestions in this research can be useful for the development of teaching Indonesian language and literature in understanding gender injustice contained in literary works, especially drama scripts.
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Perris, Simon. "Perspectives on Violence in Euripides’ Bacchae". Mnemosyne 64, nr 1 (2011): 37–57. http://dx.doi.org/10.1163/156852511x505024.
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Abstract This paper examines the treatment of violence in Euripides’ Bacchae, particularly in spoken narrative. Bacchae is essentially a drama about violence, and the messenger-speeches establish a dialectic between spectacle and suffering as different conceptions of, and reactions to, violence. The ironic deployment of imagery and allusion, particularly concerning Pentheus’ body and head, presents violence as ambiguous. The exodos then provides a model of compassion, in which knowledge of guilt does not preclude sympathy, nor does ambivalence towards violence. Finally, it is concluded that the paradoxical humanitas of this Dionysiac tragedy is grounded in its presentation of violence as a source first of pleasure, then of pain, allowing spectators to be both entertained and shocked.
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Zhao, Chenxuan. "Youth Violence in 'The Glory': A Social Psychological Analysis". Communications in Humanities Research 33, nr 1 (24.05.2024): 13–17. http://dx.doi.org/10.54254/2753-7064/33/20240038.
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Bullying and youth violence, when neglected, lead to troubled behaviour among children in terms of self-harm, suicidal tendencies and prevalence of emotional, mental and physical distress among children. Persistent acts of bullying and harassment can lead to emotional distress and worsening impacts of rejection, despair, depression, anxiety, exclusion and isolation. Facing severe consequences and being at greater risk for behavioural issues and mental ailments are persistent among children being bullied at school and during childhood. This is a case analysis of the Netflix drama series The Glory, highlighting the long-lasting impact of childhood bullying incidents on the emotional turmoil of children because of the lack of adult interference and interventions taken to address such violent behaviour. As Media has a huge reach across regions, through reference to this Netflix Korean drama series, this study highlights the subject of youth violence and school bullying and emphasises the need for immediate intervention.
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Barker, Jason. "Quentin Tarantino’s Cartoon Violence". Animation 16, nr 1-2 (lipiec 2021): 51–63. http://dx.doi.org/10.1177/17468477211025662.
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In this article, the author returns to the study of Quentin Tarantino’s ‘cartoonism’ that appeared in animation 2(2) in 2007. The focus here, as in Chris Pallant’s original essay, is on how filmic live action in Tarantino’s work displays the diegetic conventions of the cartoon, namely, its (1) hyperbolic, (2) graphic novel and (3) comic strip violence. The article adopts Pallant’s interpretive framework in analysing Tarantino’s Once Upon a Time. . . in Hollywood (2019), only this time supplements the analysis with a consideration of the film’s dramatic content. Drawing on Aristotle’s Poetics the author explores whether cartoon violence in Tarantino’s film is inversely related to drama and, more generally, speculates as to whether the cartoon form is inherently non- or anti-dramatic through the ‘private’ and commercial manner of its consumption.
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Awais, Sajida, Atif Ashraf i Ghulam Shabir. "Relationship between Representation of Violence Against Women in TV Drama Serials and Reactivity of Viewers". Journal of Business and Social Review in Emerging Economies 7, nr 4 (30.12.2021): 821–33. http://dx.doi.org/10.26710/jbsee.v7i4.1990.
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Purpose: The present study aims to explore the role of viewer’s reactivity of entertainment and empathy in their perception of violence against women among viewers of Lahore, Pakistan. The supplementary aim was also formulated to gain more clear insight which is the role of viewers’ gender in viewer’s reactivity and perception of violence against women.
Design/Methodology/Approach
Quantitative method was used in the study. Sample was consisted of 500 viewers of the thirty dramas serials of Geo, ARY Digital and Hum TV which presented violence against women. The participants were drawn through purposive and snowball sampling strategies. The sample has 233 male participants and 267 female participants.
Findings: The findings indicated that viewer’s reactivity of both enjoyment and empathy correlated with perception of violence against women. Gender differences were found only for the one sub scale of perception (i.e., domination).
Implications/Originality/Value: The findings highlighted that perception of violence against women was more inclined towards active violence being portrayed by the entertainment channels and chances to imitate the same behavior in society cannot be ruled out.
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Wardatul Jamilah, Yusni Khairul Amri i Bambang Panca Syahputra. "Politeness in Language in the Comments Column on the TVOne News Youtube Channel “Lesti Billar's Drama Case of Domestic Violence”". LingLit Journal Scientific Journal for Linguistics and Literature 3, nr 4 (5.01.2023): 176–88. http://dx.doi.org/10.33258/linglit.v3i4.823.
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One form of information and communication media that is very popular at this time is YouTube. This media can be used as a place to share videos with one another, be it videos that provide educational content, tutorials, up-to-date information, or documentary videos of one's personal life. Therefore, the forms of speech contained in YouTube are very diverse. With the various forms of speech contained on YouTube, there are also forms of politeness in speaking. Language politeness according to Geoffrey Leech, namely Geoffrey Leech divides the principles of politeness into six maxims, namely; tact maxim, generosity maxim, appreciation maxim ( approbation maxim), modesty maxim, and sympathy maxim. The author conducted this analysis with the aim of describing language politeness in the comments contained on the Tvonenews YouTube channel entitled Drama Lesti Billar's Domestic Violence Case. The data source in this study is the Tvonenews YouTube channel titled Lesti Billar's Domestic Violence Case Drama which has a video duration of 5 minutes 48 seconds, and was published on October 25 2022. Data analysis was carried out using the politeness maxim. In this analysis it was found that there were five of the six maxims of politeness in Leech's language on the Tvonenews YouTube channel entitled Drama of the Lesti Billar Domestic Violence Case from the 25 data there were 20 data included in the 5 maxims, namely: 4 tact maxims, 2 generosity maxims (generosity maxim), 4 approbation maxims, 3 modesty maxims, and 7 sympathy maxims.
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Theonaldy, Kriston, i Suzy Azeharie. "Restriksi Perempuan untuk Berpolitik Melalui Drama (Studi Kasus Drama Korea Rookie Historian Goo Hae Ryung)". Koneksi 7, nr 2 (5.10.2023): 417–26. http://dx.doi.org/10.24912/kn.v7i2.21433.
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New media is one part of mass media. Netflix is a streaming viewing application and is part of new media. Hallyu wave is Korean culture which is currently popular in many countries. Korean dramas are part of the hallyu wave. On July 17, 2019, Netflix released a Korean drama entitled Rookie Historian Goo Hae Ryung. This drama tells about the struggles of female historians in the Joseon era who experienced restrictions on politics. Historians are part of the Chunchugwan Office in charge of recording activities within the kingdom. This study discusses the forms of restrictions on women's participation in politics during the Joseon dynasty. In this research, the writer uses the silent group theory from Cheris Kramarae. This study uses a qualitative approach with Sara Mills critical discourse analysis Method. The data in this study were obtained through interviews, observations, literature studies, and documentation. The results showed that there were five forms of restrictions on women's participation in politics during the Joseon dynasty era in the Korean drama Rookie Historian Goo Hae Ryung, namely the prohibition of the right to freedom, recognition, exclusion, violence, and verbal abuse. Media baru adalah salah satu bagian media massa. Netflix merupakan aplikasi menonton streaming dan merupakan bagian dari media baru. Hallyu wave adalah budaya Korea yang sedang populer di banyak negara. Drama Korea merupakan bagian dari hallyu wave. Pada 17 Juli 2019, Netflix merilis drama Korea berjudul Rookie Historian Goo Hae Ryung. Drama ini menceritakan tentang perjuangan perempuan sejarawan pada era Joseon yang mengalami pembatasan berpolitik. Sejarawan merupakan bagian dari Kantor Chunchugwan yang bertugas untuk mencatat kegiatan dalam kerajaan. Penelitian ini membahas tentang bentuk pembatasan perempuan untuk berpolitik pada era dinasti Joseon. Dalam penelitian ini, penulis menggunakan teori kelompok terbungkam dari Cheris Kramarae. Penelitian ini menggunakan pendekatan kualitatif dengan metode analisis wacana kritis Sara Mills. Data dalam penelitian ini didapatkan melalui hasil wawancara, observasi, studi pustaka, dan dokumentasi. Hasil penelitian menunjukan ada lima bentuk pembatasan perempuan untuk berpolitik pada era dinasti Joseon dalam drama Korea Rookie Historian Goo Hae Ryung, yaitu pelarangan hak kebebasan, pengakuan, pengecualian, kekerasan, dan pelecehan verbal.
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Henrichs, Albert. "Drama and Dromena: Bloodshed, Violence, and Sacrificial Metaphor in Euripides". Harvard Studies in Classical Philology 100 (2000): 173. http://dx.doi.org/10.2307/3185214.
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Snyder-Young, Dani. "Lisa Biggs. The Healing Stage: Black Women, Incarceration, and the Art of Transformation". Modern Drama 67, nr 1 (1.03.2024): 106–8. http://dx.doi.org/10.3138/md-67-1-rev1.
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The Healing Stage by Lisa Biggs examines how Black women use prison arts programs to address racialized, gender, and sexuality-based violence, creating spaces for addressing interpersonal and systemic harm and advocating for change beyond the drama workshop.
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Abdul Halik. A. F, Rifka Nusrath. G. M i S. Umashankar. "Ethnic conflicts in Sri Lanka: An analytical study based on Post-colonial Sri Lankan English literature". World Journal of Advanced Research and Reviews 16, nr 3 (30.12.2022): 655–60. http://dx.doi.org/10.30574/wjarr.2022.16.3.1199.
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Sri Lanka is a multi-communal country that consists of four major ethnicities, namely: Sinhalese, Tamils and Muslims.The country has experienced several ethnical conflicts and riots since 1948. As a result, certain literary works in post-colonial Sri Lankan literature deals with war and ethnic conflicts in Sri Lanka. On this basis, this study was conducted to analyze the post-colonial Sri Lankan English literature in relation to ethnical conflicts in Sri Lanka. This study was an analytical research. In this study, the poem “Gajaga wannama” and the drama “Rasanayagam’s Last Riot” were analyzed to identify how the post-colonial Sri Lankan English literature describes nugatory ethnical violence against minorities in Sri Lanka. According to the review and analysis of the literary works such as the poem “Gajaga wannama” and the drama “Rasanayagam’s Last Riot”, several anti-minorities conflicts and riots have been recorded in the Sri Lankan history since 1948. Especially, the 1983 July riot was the massive anti-Tamil violence which was led by the fundamental thugs and mobs with the support of the United National Party government. Based on the analysis of the selected poem and drama, it is obvious that Tamil People lived Colombo, the Capital City of Sri Lanka were brutally killed and their assets and belongings were destroyed over a night following a bomb blast carried out by the Liberation of Tiger Tamil Ealam (LTTE) in the Northern part of Sri Lanka. This riot is primarily concerned with the nugatory anti-minority’s violence in Sri Lanka.
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Stewart, Riley S. ""Then their heirs may prosper while mine bleeds": Legal Renege, Witnessing, and Child Corpses in Two Lamentable Tragedies and A Yorkshire Tragedy". Romard 59 (2022): 93–111. http://dx.doi.org/10.32773/nwbc5428.
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There has been a great deal of scholarly focus on the children of William Shakespeare’s plays, where violence to their bodies interrogate history, inheritance, and political ascension. Attending to the drama of Shakespeare’s contemporaries, however, reveals that the staging of children also emphasized the stakes of oath breaking, legal renege, and violence to children within non-royal families. This article examines the didactic legal possibilities of early modern English drama outside the Inns of Court tradition and Shakespearean canon. I examine two early seventeenth-century domestic tragedies that dramatize violent child murders: Robert Yarington’s Two Lamentable Tragedies (1601) and Thomas Middleton’s A Yorkshire Tragedy (1608). The domestic space occupied by both sets of caregivers and children illustrates the effects of crime on the community, the difficulties of law enforcement, and the early modern justice system broadly. I suggest the implied executions of the failed caregivers and their pre-death lamentations stage the legal repercussions of oath-breaking and child violence. Through a combination of rhetorical and performance strategies, these texts implicate playgoers as witnesses to child-murder, interrogating assumptions about the extent that the law can protect children.
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Sanz Sáez, Concepción. "Medidas de protección laboral y de seguridad social para víctimas de violencia de género = Labour and Social Security protection measures for victims of gender violence". FEMERIS: Revista Multidisciplinar de Estudios de Género 4, nr 2 (20.05.2019): 105. http://dx.doi.org/10.20318/femeris.2019.4767.
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Resumen. La violencia de género es uno de los mayores conflictos que tiene la sociedad hoy en día, es habitual lamentar la pérdida de la vida de alguna mujer por esta causa muy frecuentemente, lo que permite imaginar la terrible magnitud oculta del drama que, a diario, sufren miles de mujeres y sus familiares por esta causa. Para intentar mejorar esta cuestión, el Real Decreto-ley 9/2018, de 3 de agosto, de medidas urgentes para el desarrollo del Pacto de Estado contra la violencia de género, modifica algunos preceptos de la Ley Orgánica 1/2004, de 28 de diciembre, de Medidas de Protección integral contra la Violencia de Género, que no tienen dicho rango de ley orgánica, así como la Ley 7/1985, de 2 de abril, Reguladora de las Bases del Régimen Local y el Código Civil, con el objetivo de dar una respuesta efectiva a la asistencia a las víctimas y a sus hijos e hijas menores. Con ocasión de lo anterior, el presente artículo tiene como objeto el análisis de los aspectos laborales y de seguridad social incluidos en la Ley integral sobre la violencia de género, en cuanto manifestación básica y fundamental para la mujer maltratada al poder disponer de una independencia económica, que se logra habitualmente, a través del desempeño de un puesto de trabajo, siendo reforzado debidamente con la protección de la seguridad social.Palabras clave: violencia de género, derechos laborales, protección de la seguridad social.Abstract. Gender violence is one of the greatest conflicts that society has today. It is common to regret the loss of a women’s lifes owed to this cause, which allows to imagine the terrible hidden magnitude of the drama that, every day , thousands of women and their families suffer. To try to improve this situation, the Royal Decree-Law 9/2018, of 3 August, of urgent measures for the development of the Pact of State against the gender violence, modifies some rules of the organic Law 1/2004, of 28 December, on comprehensive measures of protection against gegender violence, which do not have this nature of organic law, as well as law 7/1985, of 2 April, regulating the Bases of the Local Regime and the Civil Code, with the aim of giving an effective response to the assistance of the victims and their children and their daughter s minors. Within this framework, this article focuses on analyzing the labour and social security fields included in the comprehensive Law on gender violence, as a basic and fundamental tool for battered women in order to have of economic independence, which is usually achieved through the performance of a job, hat strengthen the protection of social security.Keywords: gender violence, labor rights, social security protection.
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Rwafa, Urther, Washington Mushore i Ephraim Vhutuza. "TOWARDS PEACE, HEALING AND RECONCILIATION IN ZIM-BABWE: THEATRICALISING POLITICAL VIOLENCE THROUGH RITUALS (2011)". Imbizo 5, nr 2 (23.06.2017): 23–39. http://dx.doi.org/10.25159/2078-9785/2843.
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This paper explores the reconciliatory possibilities of the theatrical piece Rituals (2011) penned by Stephen Chifunyise and directed and produced by Daves Guzha. The Rituals’ theatrical piece memorialises as well as condemns a culture of violence demonstrated during the 2008 harmonised elections in Zimbabwe. Through “ritualized” performance, a community embarks on a metaphysical journey focused on exorcising the ghosts of political violence still haunting individuals, communities, politicians, and the nation as a whole. These day-to-day modes of healing and reconciliation, dramatised through Rituals, suggest that communities can create platforms for peace, cultivate tolerance and permit dialogue to prevail if victims are brought face-to-face with perpetrators of violence with the hope of ironing out political differences. It is going to be argued in this paper that although the political drama in Rituals, centralises politicians as major culprits that fomented violence, its failure to go beyond political meta-narratives constricts its capacity to explore the complexities of violence in Zimbabwe. These complexities are informed by factors such as lack of voter education, existence of age-old grudges, and fragmentation of community values, among others. Another critical strand to be explored in this article is one that interrogates Rituals’ potential to reach out to the wider audiences at grassroots levels, since the political drama in Rituals speaks to the “upper class” and intellectual circles, thereby foreclosing critical debate and “voices” that should emerge from “below” which are communities many of whom were directly involved. By adopting a down-top methodological approach, the article seeks to place communities at the forefront in confronting questions of violence, peace-building and reconciliation in Zimbabwe.
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Haughton, Miriam. "Performing Power: Violence as Fantasy and Spectacle in Mark O'Rowe's Made in China and Terminus". New Theatre Quarterly 27, nr 2 (maj 2011): 153–66. http://dx.doi.org/10.1017/s0266464x11000285.
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Mark O'Rowe's work marks a shift in Irish theatrical form and practice, positing his stories in urban landscapes that defy modernist dramatic frames and established linguistic styles. Here, angels and demons roam the earth with lost human souls and, though mythical creatures and influences are frequently made manifest, the connection to the other world does not remove the presence of popular culture – karate movies and salty snacks in particular. But perhaps the most viscerally striking aspect of O'Rowe's dramaturgy stems from the sense of pain, isolation, and trauma his characters embody and enact. His dramatized communities are either in crisis or no longer visible, thereby situating the scope for human connection or reconnection as the prize sought from their struggle – while comedy is not lost, and the ‘skullduggerous’ tone so applauded in Howie the Rookie accompanies these later works alongside an evolved dramatic voice and sense of theatrical form. Miriam Haughton is currently in the second year of her doctoral work on postmodern Irish drama in the School of English, Drama, and Film at University College Dublin. Her research interests include drama studies, Irish studies, anthropology, and sociology.
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Crewe, Jonathan V. "The Violence of Drama: Towards a Reading of the Senecan Phaedra". boundary 2 17, nr 3 (1990): 95. http://dx.doi.org/10.2307/303373.
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Tulloch, Marian I., i John C. Tulloch. "Attitudes to Domestic Violence: School Students’ Responses to a Television Drama". Australian Journal of Marriage and Family 13, nr 2 (lipiec 1992): 62–69. http://dx.doi.org/10.1080/1034652x.1992.11004447.
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Dou, Xinyi, i Ruiyang Jiang. "Research on the Relationship between Violence and Ritual in Boxing". BCP Business & Management 20 (28.06.2022): 817–21. http://dx.doi.org/10.54691/bcpbm.v20i.1068.
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Violence is a competitive conflict that is characteristic of any living thing. But in human societies, violence is given more complex and diverse cultural symbols. Among them, violence in sports is one of the most apparent representatives. And should violence in sports be curbed? Can such behavior be used as a type of ritual to eliminate the fear of spectators and thus reduce the proportion of violence in real life? Based on the ritual research theory from anthropology, this paper will discuss and analyze the above problems from the perspective of ritual and drama performance. On the basis of combing the relevant research, this paper focuses on interviewing 10 members of a boxing club and watching the competition videos of some professional boxers, which will be the main data of this study. The results of this study demonstrate the correlation between violence and ritual. This study will help to provide new cases for modern ritual research.
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Muklis, Choirul. "COLLECTIVE EXPRESSION OF VIOLENCE IN THE COLLECTION OF TEXTS OF THE REPUBLIC PUPPET DRAMA WORKS N. Riantiarno". BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 18, nr 2 (29.07.2019): 123–34. http://dx.doi.org/10.21009/bahtera.182.02.
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The purpose of this study is describe expression of structural violence in Bagong Czech playwright, Czech Togog, Petruk and the Czech Republic Cangik by N. Riantiarno, describe expression of social violence in plays Bagong Republic, the Republic of Togog, Petruk and the Czech Republic Cangik by N. Riantiarno. describe Individual violent expression plays in Bagong Republic, the Republic of Togog, Petruk and the Czech Republic Cangik by N. Riantiarno. The expression of collective violence theory is mapped into three variations of the basic idea. In the context of the structural repression of the rights holder, the social context of the horizontal dimension of community and individual contexts both psychologically or biologically.This is a qualitative research approach. Data collection techniques used in this research is the engineering documentation, read technique, as well as the techniques noted. Description of the analytical techniques used to describe data and content analysis was used to analyze the meaning of the message and reveal the message in the data.The results of this study (1) expression of structural violence in the data source, is dominated by the behavior of government officials to launch an interest group, (2) the expression of social violence in the data source, dominated by injustice policies and perspectives, (3) the expression of violent individual in the data source, is dominated by the behavior of retention of existence and desire control of power.
Keywords Violence collective and Czech Puppe
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Baú, Valentina. "Radio, conflict and land grabbing in Sierra Leone: Communicating rights and preventing violence through drama". Media, War & Conflict 12, nr 4 (2.08.2018): 373–91. http://dx.doi.org/10.1177/1750635218789434.
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With a focus on entertainment education, this article sheds light on the effects of radio drama in addressing conflict over land governance. The discussion is built around the broadcast of Bush Wahala radio series during the recent land acquisition process that has taken place in Sierra Leone. Through the analysis of semi-structured interviews conducted by the author with rural farmers affected by this issue, on the one hand, this work generates reflections on the role of radio drama in providing listeners with alternative options to the use of violence and confrontation with the authorities in order to claim land rights; on the other hand, it represents an important contribution to the literature of edutainment in contexts of conflict, with a specific focus on the increasingly complex issue of land grabbing in the developing world.
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Proleiev, Sergii. "Social drama of independence". Filosofska dumka (Philosophical Thought) -, nr 3 (7.09.2021): 64–78. http://dx.doi.org/10.15407/fd2021.03.064.
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The article analyzes the problem of Ukraine's development since independence. A comparison of the way of organizing social reality in modern Ukraine and in the Soviet period is carried out. The main regulatory factor in the life of Soviet society was the principle of domination. Ukraine has inherited the principle of domination and retains its leading role in the current social order. Its various manifestations that determine the structure of Ukrainian society, in particular the growth of the bureaucratic class and bureaucratic pressure on all spheres and sections of life, are analyzed. The dominance of bureaucracy contains latent violence, feeds corruption and minimizes social dynamics. It is also a phenomenon of power rent, which finds its expression in a kind of "privatization of the state." Another universal effect of the principle of domination is the doubling of social reality into apparent and hidden. The apparent reality becomes a space for the existence of ordinary citizens and the implementation of legal procedures, while the hidden one contains a system of real circulation of power, which is not regulated by any legal regulations, instead, controls all movements of the social body. The systemic role in the hidden society is played by cliques — informal groups of influential people who really control the course of events. The con- sequence of the principle of domination is the passivity and marginalization of the Ukrainian citizen, associated with the defect of political participation. Such non-participation in power is embodied in such forms of consciousness as hope, liking, and despair. Today, independence is not a given, but a chance that must be realized. The way to this is through the restoration of the role of the people as a sovereign power and the development of non-dominant regulatory factors of sociality.
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Romer, Daniel, i Patrick Jamieson. "Violence in Popular U.S. Prime Time TV Dramas and the Cultivation of Fear: A Time Series Analysis". Media and Communication 2, nr 2 (17.06.2014): 31–41. http://dx.doi.org/10.17645/mac.v2i2.8.
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Gerbner and Gross’s cultivation theory predicts that prolonged exposure to TV violence creates fear of crime, symptomatic of a mean world syndrome. We tested the theory’s prediction in a time series model with annual changes in violence portrayal on popular US TV shows from 1972 to 2010 as a predictor of changes in public perceptions of local crime rates and fear of crime. We found that contrary to the prediction that TV violence would affect perceptions of crime rates, TV violence directly predicted fear of crime holding constant national crime rates and perceptions of crime rates. National crime rates predicted fear of crime but only as mediated by perceptions of local crime rates. The findings support an interpretation of cultivation theory that TV drama transports viewers into a fictive world that creates fear of crime but without changing perceptions of a mean world.