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Bibliografias temáticas / Family/domestic drama

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Literatura científica selecionada sobre o tema "Family/domestic drama"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Family/domestic drama"

1

Fizgał-Janikowska, Magdalena. "The Experience of Melancholy in “Domestic Comedies” by Hanoch Levin". Jednak Książki. Gdańskie Czasopismo Humanistyczne, n.º 9 (24 de abril de 2018): 67–78. http://dx.doi.org/10.26881/jk.2018.9.06.

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The article attempts to depict the experience of melancholy in family dramas by an Israeli playwright Hanoch Levin. With regard to their themes Levin’s domestic comedies can be divided into dramas of ‘lonely hearts’, ‘family relationships’, and ‘neighborhood’. What is common to these three groups of dramas is the gallery of the same personae – melancholy men: depressed, detached subjects, deprived of any possibility of symbolization. Firstly, melancholy appears to be a general condition of the depicted world; secondly, it is deeply related to the inner dramas of personae of the drama – their embodiment and their perception of the world. The condition of male and female characters in Levin’s domestic comedies is determined by the longing for the past and the sadness of passive existence. The basic purpose of the article is to provide an analysis of the selected issues in the context of psychoanalytical readings of melancholy, especially Sigmund Freud’s as well Julia Kristeva’s works. This perspective allows to elucidate the melancholic condition of dramatis personae, and also to describe some complicated relationships between them (especially the relation between mother-figure and the son).

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2

Plaice, Mark R. "Domesticating gangsters? Home/work conflicts in South Korean family drama gangster film". East Asian Journal of Popular Culture 6, n.º 2 (1 de agosto de 2020): 275–92. http://dx.doi.org/10.1386/eapc_00030_1.

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Gangster films are largely an urban genre set in the mean streets of metropolitan ganglands. A significant proportion of South Korean gangster films depart from this spatial convention, however, setting their central family or romance plots in the domestic space of the apartment. This article addresses the question of why we find gangsters in domestic space in South Korean cinema and examines what the domestic setting ‘does’ to the gangster film. The Show Must Go On (2008) is discussed in detail to exemplify the ways that questions of masculinity, gendered family role performance and class anxieties are crystallized around domestic space. What emerges in this spatial shift is a new sub-genre, the ‘family drama gangster film’. This form combines elements of the traditional gangster narrative with family melodrama, producing tension between the conflicting obligations of the gangster towards gang and family. The article concludes that the family drama gangster film emerged as a response to a conjunction of socio-economic and film industry factors and became a vehicle through which conflict between competing ideologies of Korean familism is negotiated, mostly resolving in favour of affective familism.

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Connolly, Thomas F. "O'Neill and Camille: Domestic Drama in “The Web” and “Recklessness”". Ostrava Journal of English Philology 14, n.º 2 (janeiro de 2023): 5–20. http://dx.doi.org/10.15452/ojoep.2022.14.0007.

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Early in his career, O’Neill aspired to be a popular playwright. This contrasts with the conventional assessment of O’Neill’s ambitions. These earliest plays drawing on popular melodrama and relying on explicitly commercial theatrical inspiration do not fit the established model of the O’Neill who insisted he wanted “to be an artist” or nothing. The plays also draw on the influence of Dumas’ La dame aux camélias, O’Neill was been influenced by Ibsen and Strindberg in his later works, but these plays reveal these influences from the start. Finally, they demonstrate that O’Neill had family relationships that had nothing to do with the autobiography in Long Day’s Journey into Night. O’Neill intended “Recklessness” as a possible vehicle for his father. O’Neill is better placed in the context of late 19th and early 20th century theatre; continuing to regard him as sui generis, hobbles our understanding of American theatre and O’Neill’s genius.

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Bond, Helen K. "Josephus on Herod’s Domestic Intrigue in the Jewish War". Journal for the Study of Judaism 43, n.º 3 (2012): 295–314. http://dx.doi.org/10.1163/157006312x644128.

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Abstract This article argues that women and domestic intrigue are prominent within the Herod narrative in Josephus’ Jewish War for a specific rhetorical reason. While the first half of the narrative presents the famous king in encomiastic terms, using him to illustrate Josephus’ contention that Jews generally were content to remain loyal to Rome, the second half of the account subtly presents a rather different thesis. Attention to domestic drama allowed Josephus to suggest that Herod was a man who was unable to control either his own emotions or his turbulent family, and so was unfit to rule. Ultimately for Josephus, the ideal constituency for Judaea is not monarchy (as represented by Herod) but the theocratic reign of priests.

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Trimbur, John. "Composition and the Circulation of Writing". College Composition & Communication 52, n.º 2 (1 de dezembro de 2000): 188–219. http://dx.doi.org/10.58680/ccc20001415.

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Composition has neglected the circulation of writing by figuring classroom life as a middle-class family drama. Cultural studies approaches to teaching writing have sought, with mixed success, to transcend this domestic space. I draw on Marx’s Grundrisse for a conceptual model of how circulation materializes contradictory social relations and how the contradictions between exchange value and use value might be taken up in writing classrooms to expand public forums and popular participation in civic life.

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Sweetman, Norah. "“I Thought It Was My Fault Just for Being Born”. A Review of an SEL Programme for Teenage Victims of Domestic Violence". Education Sciences 11, n.º 12 (1 de dezembro de 2021): 784. http://dx.doi.org/10.3390/educsci11120784.

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Research has established the life-altering effects of living with domestic violence on young people. Traumatic experiences negatively impact their education, leisure activities, and social-emotional learning (SEL). The secrecy concerning domestic violence means young people suffer self-blame, shame, fear of disclosure and family separation. The researcher designed a 12-week multimedia programme, ‘up2talk’, to enhance the communications skills and emotional literacy of the participants. Parents and teenagers were fully informed of the aims and previously attended the family service hosting the programme. Domestic violence was identified as a core issue, without the expectation of personal disclosure. This approach enabled young people to voice and explore the effects of domestic violence on their lives. Participants developed the elements of the programme and a family worker co-facilitated the groups. The third-party approaches: ‘how would a teenager feel?’, artistic expression, assertiveness, debates and videoing drama increased SEL and generated discussion, while protecting privacy. Parents provided two interviews concerning their children, and teenagers provided three individual interviews and ongoing group reviews. A thematic analysis showed a reduction in shame and self-blame, enhanced self-esteem and self-efficacy, increased engagement in education and recreation and improved family relationships. Themes were triangulated by facilitators’ observations, interview data, artefacts, group reviews and parental feedback. All families were offered follow-up support. The effectiveness of the interactive group indicates opportunities for its development in educational and youth settings.

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Yu, Ziyan, e Zhaoyu Qi. "Auspicious As You Like It: A Mirror of Family Ethics in a Nested Structure". Frontiers of Engineering and Scientific Research 1, n.º 1 (29 de maio de 2022): 46. http://dx.doi.org/10.56028/fesr.1.1.46.

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"Auspicious As You Like It" is a New Year's Eve movie directed by Dapeng in 2021. Before this film, audiences still had the impression of Dapeng's works as comedies like "Pancake Man" and "Sewing Machine Band", but "Auspicious As You Like It" has completely overturned modern audiences' perception of his directorial works. The main reason why this literary film has left a deep impression on many people is that it uses a large number of nested narrative structures, combining drama and documentary, and cleverly exploiting the duality between real and fictional images, combining truth and fiction. This narrative structure and artistic form enriches the way of domestic film art creation at this stage and provides valuable experience for China's current film art creation.

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Dr. Vineet Maxwell David. "The Accord of Discord: Reflections on Private Lives in Peter Shaffer’s Five Finger Exercise". Creative Launcher 7, n.º 3 (30 de junho de 2022): 28–34. http://dx.doi.org/10.53032/tcl.2022.7.3.04.

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Peter Shaffer holds a place of pivotal importance in Modern British Drama. The variety and complexities of life that Shaffer presents through his works, give us a good idea that he is a playwright who intends to further the representative nature of theatre as an agency of influence. The acute fidelity with which he perceives and deliberates upon life narratives remains a preserve in which the playwright influences his proficient talent to good use. He works upon aspects of human situations with a deep sense of purpose and understanding which bespeak of his merit as a playwright. Five Finger Exercise is a play by Peter Shaffer that stands as an important work in the formative years of his career as a playwright and contributes a notable standing to his oeuvre as a writer in the making. Paralleled in the reputation of the drama of the fifties with Look Back in Anger as a profound dramatic work, it is Peter Shaffer’s Five Finger Exercise that holds its ground as a work of incredible consequence about complexities of human ordeals. The ‘family’ and its private frontier remains a compelling subject for drama and it also seeks our renewed enquiry, one that is exemplified in the action of the play, Five Finger Exercise. The paper instils a vital seeking through an academic deliberation, accentuating a vigorous argument as to why it needs to recognised as an important work in English theatre history. It is the domain of the Harringtons’ family and their trials and turmoils that puts into question a consequential deliberation on beneath the surface reality of the family/domestic space. The paper also serves to explore the psychological and emotional dimensions of human behaviour and its treatment as part of the narrative which seeks to highlight Peter Shaffer’s perspicuity and his acumen as a writer.

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Linchenko, Andrei Aleksandrovich. "The Mythology of Time in Modern Foreign period dramas: between Retrotopia and Metamodern Sensuality". Философия и культура, n.º 9 (setembro de 2022): 10–27. http://dx.doi.org/10.7256/2454-0757.2022.9.38722.

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. The purpose of this article is to analyze the specifics of the mythologizing of time in the historical period dramas "Downton Abbey" and "The Crown" in the context of the transition from the postmodern paradigm to a new metamodern sensibility. The article summarizes the experience of domestic and foreign studies of the metamodern tendencies of the modern TV series and analyzes the theoretical issues of the mythological temporality of TV series production. On the basis of the theoretical concept of retrotopia by Z. Bauman, the concept of layers of cinematic temporality by N.E. Marievskaya and the critical discourse analysis of S. Jäger, the features of the mythologization of horizontal, vertical time, as well as the biographical time of characters in selected period dramas have been analyzed. The scientific novelty of the article lies in the problematization and analysis of the discursive environment of the deployment of the temporal mythology of the modern period drama. The modern historical period drama demonstrates the specifics of turning to retrotopia, as it seeks to represent the current problems of the present through an imaginary past. In the case of the “Downton Abbey”, this happens through the harmonization in the viewer's mind of nostalgia for an imaginary English aristocratic past and an unstable future. In the case of the “The Crown”, the presentation of the private life of the British royal family against the backdrop of historical events contributes to the formation of a more multidimensional image of the present and responds to the demands of the mass audience in the emotional representation of historical events. The result of this representation is a kind of mythology of time, which arises between the cultural demand for retrotopia and the development of modern technologies for the production of cinematographic products, which makes it possible to fully realize the intention of modern metamodernist discourse to achieve a “new sensibility”. This allows us to consider the modern historical period drama not only as a "commercial project", but also as a tool for the development of historical culture, an instrument of cultural orientation in social space and time.

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Mercer-Taylor, Peter. "Listening for the “Still Small Voice” of Mendelssohn’s Domestic Elijah". Journal of Musicology 32, n.º 1 (1 de janeiro de 2015): 40–77. http://dx.doi.org/10.1525/jm.2015.32.1.40.

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The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity of his youth and adulthood. This article explores a fourth, essentially untested, interpretive approach: the possibility that Mendelssohn crafts from Elijah’s story a heartfelt affirmation of domesticity, an expression of his growing fascination with retiring to a quiet existence in the bosom of his family. The argument unfolds in three phases. In the first, the focus is on that climactic passage in Elijah’s Second Part in which God is revealed to the prophet in the “still small voice.” The turn from divine absence to divine presence is articulated through two clear and powerful recollections of music that Elijah had sung in the oratorio’s First Part, a move that has the potential to reconfigure our evaluation of his role in the public and private spheres in those earlier passages. The second phase turns to Elijah’s own brief sojourn into the domestic realm, the widow’s scene, paying particular attention to the motivations that may have underlain the substantial revisions to the scene that took place between the Birmingham premiere and the London premiere the following year. The final phase explores the possibility that the widow and her son, the “surrogate family” in the oratorio, do not disappear after the widow’s scene, but linger on as “para-characters” with crucial roles in the unfolding drama.

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Mais fontes

Livros sobre o assunto "Family/domestic drama"

1

Shehada, Nahda Younis. Justice without drama: Enacting family law in Gaza City Sharīʻa Court. Maastricht: Shaker Publishing, 2005.

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2

Shehada, Nahda Younis. Justice without drama: Enacting family law in Gaza City Sharīʻa Court. Maastricht: Shaker Publishing, 2005.

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3

Sakamoto, Edward. Hawaiʻi no ka oi: The Kamiya family trilogy. Honolulu, Hawaii: University of Hawaiʻi Press, 1995.

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4

Comensoli, Viviana. Household business: Domestic plays of early modern England. Toronto: University of Toronto Press, 1996.

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5

Eyo, Sam. My husband's people. Calabar, Nigeria: Samson Pub. Co., 1992.

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6

Stephenson, Shelagh. The memory of water: & Five kinds of silence. London: Methuen Drama, 1997.

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7

Stephenson, Shelagh. The memory of water. New York: Dramatists Play Service, Inc., 1999.

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8

Comensoli, Viviana. 'Household business': Domestic plays of early modern England. Toronto: University of Toronto Press, 1996.

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9

Olúwáṣeun, Ẹni Ọ̀wọ̀ B. B. Àfọwọfà. Ijebu-Ode, Ogun State, Nigeria: Vicoo Publishing House, 2000.

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10

Mario, Puzo. The Family. New York: HarperCollins, 2001.

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Capítulos de livros sobre o assunto "Family/domestic drama"

1

Fitzgerald, Christina M. "The Domestic Scene: Patriarchal Fantasies and Anxieties in the Family and Guild". In The Drama of Masculinity and Medieval English Guild Culture, 41–94. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604995_3.

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2

Bellamy, Liz. "Family and Domesticity in Defoe’s Writings". In The Oxford Handbook of Daniel Defoe, 294–310. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780198827177.013.16.

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Abstract Daniel Defoe’s writings have been cited by both sides in the debate over whether family structures were characterized by change or continuity in early modern England. This essay analyses representations of domesticity in Defoe, to explore the relationship between fictional and non-fictional constructions, and assess their ideological, historical, and literary significance. It argues that Defoe’s works cannot be accommodated into conventional paradigms of a shift from feudalism to capitalism, or from public to private ideology. Instead, both the fiction and non-fiction construct a domestic model which represents a radical mercantile appropriation of the extended family, framing economic and inherently exploitative relationships in the language of paternal duty and patriarchal authority. At the same time, the development of Defoe’s novels shows increasing awareness of the drama within domestic life, and the potential of the family as the primary source of fiction.

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3

Joo, Woojeong. "Wartime Ozu: Between Bourgeois Drama and National Policy Film". In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696321.003.0004.

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This chapter deals with Ozu’s wartime works from the perspective of their continuing inquiry into the everyday as well as their relation to his postwar films so that they can be re-evaluated as a connecting bridge between the prewar and the postwar period. In the first part, Ozu’s complex stance on the war and the nationalistic ideology is examined through contextual survey of wartime history of Japan and Japanese cinema, and also analysing primary sources that has recorded Ozu’s own experience at battlefield. The second part analyses Ozu’s wartime bourgeois drama, The Flavour of Green Tea over Rice (1939), which, along with the previous work, What Did the Lady Forget? (1937), reveals gender politics of the female domestic everyday that operates antithetical to prevailing male-centric wartime collectivism. The last part of this chapter discusses Ozu’s humanistic position, by analysing two wartime films about paternity and its absence (The Brothers and Sisters of the Toda Family (1941) and There Was a Father (1942)) along with Burma Campaign (1942), which is Ozu’s only attempt at war film genre in a complete form.

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4

Millgate, Michael. "The Dynasts". In Thomas Hardy, A Biography Revisited, 394–407. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780199275656.003.0023.

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Abstract Hardy ‘S uncertainty over his forthcoming public appearance in yet another new guise—as author of a verse drama designed to be read rather than performed—was compounded by his domestic worries. Lilian Gifford had again been staying at Max Gate, and in mid-November 1903 Emma carried her off on a visit to Dover and then, purely on impulse, across the Channel to Calais. Messages exchanged between Emma and Bessie Churchill, the Max Gate parlourmaid, were chiefly concerned with the health and comfort of the four household cats. On learning that one of them had been brought home after an absence at the vet ‘s, Emma counselled: ‘Keep Marky away from Pixie—perhaps also from Snow-dove they will try to chase her off. ‘¹ Hardy, who wrote frequently, also mentioned the cats but his inclusion of local gossip and family news suggests that he was chiefly concerned to keep Emma in touch with home and with reality.

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Moss-Wellington, Wyatt. "An Introduction to the Millennial Suburban Ensemble Film". In Narrative Humanism, 129–45. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474454315.003.0008.

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Part III uses the hermeneutics and narrative theory established in the first half of the book to investigate a film genre that emerged at the end of the millennium: the suburban ensemble dramedy. The first chapter makes the case that suburban ensemble cinema comparatively amalgamates a number of conventions from a range of antecedent genres: infidelity dramas, family trauma dramas, the midlife crisis film and the coming-of-age film, along with works from other media, including socially conscious domestic TV sitcoms. It compares the history of suburban media depiction in American cinema with the lived realities of residentially dispersed contexts as they developed over the second half of the 20th century.

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Vauthier, Simone. "Of African Queens and Afro-American Princes and Princesses: Miscegenation in Old Hepsy *". In Interracialism, 330–55. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195128567.003.0020.

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Abstract By 1858, when Mrs. C. W. Denison published Old Hepsy,1 the antislavery novel was a well-established sub-genre. It had its stock characters and its archetypes; especially when written by women, it tended to be firmly centered in the family circle2 and to exploit tear-jerking situations, thus overlapping the “domestic and sentimental novel”; and insofar as it often depicted a tragic octoroon girl, persecuted by a lecherous master who was as likely as not bloodkin to her in the setting of an isolated plantation, it blended motifs and figures inherited both from Richprinces and princesses whom the culture has borne only to deny them full participation in the genealogical line of power are still with us. Nor have the “white Negroes,” princely yet still debarred from their high inheritance-exiles in the American mythical homeland-ceased to figure in the fantasmatic dramas which literature stages for the benefit alike of self and society. Whether as Kingsblood Royal in Sinclair Lewis’ novel of the same title, or as the sophisticated Charles Bon in Faulkner’s Absalom Absalom! (whose fate bears some little resemblance to Hollister’s) or as Amantha Starr in Robert Penn Warren’s Band of Angels, to mention but a few, they still haunt the white “city of words,” still ask the reader to decipher the riddle of America and the riddle of the sphinx.

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