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Dewan, Pauline. "Survival of the Fittest: The Evolution of the Children’s Survival Novel". Children and Libraries 18, n.º 4 (12 de janeiro de 2021): 21. http://dx.doi.org/10.5860/cal.18.4.21.
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Survival novels provide a host of attractions for children. On a continuum of danger, they are the high-risk counterparts of adventure narratives.Characters in survival novels face not just adversity and risk, but also potential death. The fast pace and high drama of these narratives have always made them popular choices for children.
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Skloot, Robert. "The Drama of the Holocaust: Issues of Choice and Survival". New Theatre Quarterly 3, n.º 12 (novembro de 1987): 337–48. http://dx.doi.org/10.1017/s0266464x00002475.
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One of the ways in which Jews and others have sought somehow to assimilate the knowledge of the Nazi Holocaust has been through the theatrical expression of the appalling dilemmas it posed. Implicitly or explicitly, however, the process of ‘shaping’ that this involves forces an attitude to be taken by the dramatist towards the meaning of ‘choice’ in such circumstances, and the ‘acceptable’ price of possible survival. In his anthology The Theatre of the Holocaust (1982), Robert Skloot assembled four plays which exemplified the possible ‘attitudes to survival’, and here he relates them to the ideas of Bruno Bettelheim, Terrence Des Pres, and other writers on the subject, in an attempt to assess how fully and honestly theatre is able to reflect the issues involved. Robert Skloot is Professor of Theatre and Drama at the University of Wisconsin, Madison, and was Fulbright Lecturer in Israel in 1980–81. He has also edited a collection of essays, ‘The Darkness We Carry’: the Drama of the Holocaust, due for publication in the spring of 1988.
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Varsamis, Georgios, George C. Adamidis, Theodora Merou, Ioannis Takos, Katerina Tseniklidou, Panayiotis G. Dimitrakopoulos e Aristotelis C. Papageorgiou. "Changes in Watering Frequency Stimulate Differentiated Adaptive Responses among Seedlings of Different Beech Populations". Biology 11, n.º 2 (14 de fevereiro de 2022): 306. http://dx.doi.org/10.3390/biology11020306.
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Seasonality, rather than annual precipitation levels, is expected to affect the adaptive responses of plant populations under future climate change. To estimate adaptive traits’ variation, we conducted a common garden experiment with two beech populations from contrasting climatic origins (Evros with longer drought intervals during summer and higher precipitation seasonality, and Drama representing a more temperate ecosystem). We simulated two different watering treatments (frequent vs. non-frequent) on beech seedlings, according to predicted monthly precipitation levels expected to prevail in 2050 by the CSIRO MK3.6 SRESA1B model, considering as reference area a natural beech stand in Mt. Rodopi, Greece. A series of morphological and stem anatomical traits were measured. Seedling survival was greater for the Evros population compared to that of Drama under non-frequent watering, while no difference in survival was detected under frequent watering. Leaf morphological traits were not generally affected by watering frequency except for leaf circularity, which was found to be lower under non-frequent watering for both populations. Stomata density in leaves was found to be higher in the Evros population and lower in the Drama population under non-frequent watering than frequent. Stem anatomical traits were higher under non-frequent watering for Evros but lower for the Drama population. Multivariate analyses clearly discriminated populations under non-frequent rather than frequent watering, indicating genetic adaptation to the population’s environment of origin.
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Tait, Peta. "Love, Fear, and Climate Change: Emotions in Drama and Performance". Publications of the Modern Language Association of America 130, n.º 5 (outubro de 2015): 1501–5. http://dx.doi.org/10.1632/pmla.2015.130.5.1501.
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If the survival of human and nonhuman animals depends on challenging beliefs about our species' exploitation of nature, it also depends on posthumanist perspectives that question more widely the ways in which humans perceive and inhabit the environment emotionally. I argue here that drama can make a valuable contribution not only to the process of interpreting emotions but also to raising awareness that emotional feelings have material efects. he capacity of drama and its performance to grapple with emotional responses to climate change and with broader scientiic knowledge seems particularly prescient.
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Grigoryev, Leonid M. "Global social drama of pandemic and recession". Population and Economics 4, n.º 2 (22 de abril de 2020): 18–25. http://dx.doi.org/10.3897/popecon.4.e53325.
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Global drama of pandemic has caused the deep reduction of consumption of wealthy strata, unemployment and isolation. Huge number of people around the Globe is facing the step back to basic needs by Maslow pyramid: physiological needs and security. Adaptation of people to the new situation goes difficult, while somewhat easier for employed in intellectual activities, primarily for university professors. The exit from recession is still far ahead, and it will depend on the certification of territories, and issue of trust for citizens to start going from their regions. Morals, literature, memories of survival will be close to models of those after the big wars.
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Choi, Younghee, e Hyounsun Moon. "A Study on the Female Hero Narrative of Global K-Drama: Focusing on the Storytelling Strategy of the Netflix Drama Series “My Name”". Korean Society of Culture and Convergence 45, n.º 8 (31 de agosto de 2023): 241–52. http://dx.doi.org/10.33645/cnc.2023.08.45.08.241.
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The purpose of this paper is to discuss effective K-Drama storytelling strategies on the global OTT platform by analyzing the contents of the Netflix original drama series “My Name”. In the Netflix platform, where global networking, securing original IP, and expanding reproduction through remediation of content are being promoted as competitive strategies, K-drama is considered a representative content recognized by others. “My Name” shows a story structure that puts emphasis on the ‘growth’ of female characters while advocating a heterogeneous combination of ‘female’ and ‘revenge’. Naturally, the drama utilizes the “hero's adventure” schematic of “monomyth,” which is recognized as the prototype of the growth narrative, and completes the narrative of the subject who pursues own identity (name) in a universal conflict between human social norms and natural survival laws. It seems to be the result of considering the global context that is not bound by the locality of Korea, while reflecting the demand for content from female audiences as changing Korean society and its cultural representatives.
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Saldaña, Johnny. "“Survival”: A White Teacher's Conception of Drama with Inner-City Hispanic Youth". Youth Theatre Journal 11, n.º 1 (maio de 1997): 25–46. http://dx.doi.org/10.1080/08929092.1997.10012482.
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Lane, Jan-Erik. "The Beginning of the End of the Climate Drama". International Journal of Social Science Studies 6, n.º 8 (24 de julho de 2018): 32. http://dx.doi.org/10.11114/ijsss.v6i8.3476.
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Climate and Earth scientists have launched the new theory of abrupt climate change, which entails a most real threat to human survival. They clarify Hawking irreversibility by multiple so-called tipping points. The COP21 project seems bound for coordination failure. And country resilience will not suffice against the consequences of abruot climate change, involving inter alia much sea level rise and constantly increasing heat for decades as well as hurricanes and forest fires.
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Horváth, Enikő. "The Barroso Drama: Brussels for Beginners. Mr. Kovács's Curious Adventures between Capitals". European Constitutional Law Review 1, n.º 2 (19 de maio de 2005): 182–88. http://dx.doi.org/10.1017/s1574019605001823.
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박상완. "The Way of Survival in a Neo-Liberal Age in the Television Drama". Journal of Korean drama and theatre ll, n.º 60 (junho de 2018): 165–203. http://dx.doi.org/10.17938/tjkdat.2018..60.165.
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Hwang, Jiyoung. "A study of “youth meritocracy” in fantasy school drama - Focusing on Korean OTT Original Dramas in the 2020s -". Education Research Institute, Chungbuk National University 45, n.º 1 (30 de abril de 2024): 1–30. http://dx.doi.org/10.55152/kerj.45.1.1.
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This paper analyzes fantasy school dramas among the original Korean OTT dramas in the 2020s that deal with adolescents' entrance exams, competition, survival, and struggles. Exploring the “youth meritocracy” in these dramas. Originally, the meritocracy was considered the opposite of aristocracy, affirming that intelligence and hard work are the forces that create class mobility. However, over time, it has transformed into a meritocracy based on education and exams. Especially in Korea, it reinforces the obsession with prestigious universities and eventually becomes a way to justify endless competition and winner-takes-all thinking. However, in fantasy school dramas, young people don't just accept the distorted meritocracy as it is; they shape their own lives by exhibiting a variety of attitudes toward the meritocracy in schools which have become battlegrounds for life and death. Chapter 2 examines "High Cookie" a film about high school seniors at a prestigious school who are willing to use drugs to get to the top of the class, while Chapter 3 analyzes "After-School War Activities" a film about high school students who join the military as student soldiers to earn extra credit for the SAT and their unstable inner lives. Chapter 4 examines "All of Are Dead" explores the implications of teenagers choosing cooperation and solidarity over competition, albeit temporarily, in a zombie apocalypse. Chapter 5 focuses on the drama "Superior Shaman Gadusim" to examine the self-affirmation of adolescents who voluntarily sacrifice themselves to save their friends. In doing so, I argue that these dramas expose the absurdity of Korean society and youth meritocracy, but also reveal that they talk about the values that we need to recover beyond meritocracy, such as self-affirmation, friendship and love, cooperation and solidarity.
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Moss, Jane. "The Drama of Survival: Staging Post-traumatic Memory in Plays by Lebanese-Québécois Dramatists". Theatre Research in Canada 22, n.º 2 (setembro de 2001): 173–89. http://dx.doi.org/10.3138/tric.22.2.173.
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Cho, Hyeon Sook. "The Drama of “Destruction and Survival,” and the Meaning of Intersubjectivity Therapy in Pastoral Counseling : The Subject’s Survival from the Other". Korean Journal of Christian Studies 106 (31 de outubro de 2017): 381–404. http://dx.doi.org/10.18708/kjcs.2017.10.106.1.381.
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Brennan, Eddie. "Soap Opera, Commercialisation and the Proletarianisation of Cultural Production". Irish Journal of Sociology 13, n.º 2 (novembro de 2004): 66–83. http://dx.doi.org/10.1177/079160350401300205.
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Irish television drama initially contained a number of prestigious producers and writers who could use their knowledge and reputation as forms of organisational power. Today, soap opera, the dominant genre, depends on quick turnovers, short-term contracts and teams of writers. It offers little hope of building prestige or recognition. This article looks inside the production of Fair City, Ireland's most popular soap opera. The show's success and survival depend on a level of rationalisation that is unprecedented in Irish television drama. This new form of organisation is a response to the pressures of an increasingly commercialised broadcasting environment. Constraints of time and finance have reduced the professional autonomy and creativity of Fair City's producers, writers and actors. This article offers the hypothesis that this is one example, among many, of how market influence may bring about a ‘proletarianisation’ of formerly autonomous and prestigious cultural work.
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이광욱. "The Survival Plan of the New-drama Group and the Middle-theater as a Agenda". Journal of Humanities, Seoul National University 73, n.º 2 (maio de 2016): 39–82. http://dx.doi.org/10.17326/jhsnu.73.2.201605.39.
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Hong, Eun-Sook. "Dead Man’s Cell Phone: Supernatural Interactions and the Ethics of Hyperconnectivity". British and American Language and Literature Association of Korea 149 (30 de junho de 2023): 61–79. http://dx.doi.org/10.21297/ballak.2023.149.61.
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This paper focuses on the process of recovering supernatural interactions for all the characters in Dead Man’s Cell Phone. Sarah Ruhl is recognized as a playwright and thinker who expands cultural influence beyond the theatre through a conscious confrontation with the contemporary era. Dead Man's Cell Phones represents a new dimension of dramatic action that generates ‘freedom of hyperconnectivity,’ ‘hyper-connected survival,’ and ‘spiritual networks’ that humanity has neglected due to the temptation of materialism and technological advances. The play revolves around the dead man Gordon and his cell phone, exploring the human ontology that needs to be filled with meaning in the context of change and making connections among humans as well as humans and non-human others. Organ trading in Dead Man's Cell Phone is a dramatic motif that first appeared in English dramas. In this play, organ trading is a dramatic representation of the ethics of hyperconnectivity and raises ethical questions about the consequences of hyperconnectivity. This play demonstrates that drama is a platform for the transition of human life in restoring primitive connectivity in the hyper-connected era.
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Lane, Jan-Erik. "Climate Change Is not Only GHGs but Also Economics". Applied Economics and Finance 5, n.º 6 (25 de setembro de 2018): 33. http://dx.doi.org/10.11114/aef.v5i6.3655.
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Climate and Earth scientists have recently provided compelling evidence for abrupt climate change, but this amount to only 50% of this drama. We must ask: If GHGs threaten human survival, why do not humans alter the system of economic production, especially the energy supply responsible for the accelerating global warming? The question of how to transform energy consumption is little discussed: tools, mechanisms, global coordination, country resilience, state or market? Actually, the resistance to energy change is very strong,
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Sullivan, Bruce M. "Temple rites and temple servants: Religion’s role in the survival of Kerala’s Kū;ṭiyāṭṭam drama tradition". International Journal of Hindu Studies 1, n.º 1 (abril de 1997): 97–115. http://dx.doi.org/10.1007/s11407-997-0014-9.
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Pontijas Fuentes, Irene, Davide Bonetti, Federico Letterio, Gonzalo Vicario de Miguel, Gonzalo Blanco Arnao, Pedro Palomo, Cristina Parigini, Stijn Lemmens, Tobias Lips e Ronny Kanzler. "Upgrade of ESA's Debris Risk Assessment and Mitigation Analysis (DRAMA) tool: Spacecraft Entry Survival Analysis Module". Acta Astronautica 158 (maio de 2019): 148–60. http://dx.doi.org/10.1016/j.actaastro.2017.12.001.
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Lei, Ziyi. "A Comparison of East Asian Women's Survival Status in Cinematography: Take Tōkyō Joshi Zukan and Beijing Women's Illustration as Examples". BCP Social Sciences & Humanities 21 (15 de fevereiro de 2023): 146–53. http://dx.doi.org/10.54691/bcpssh.v21i.3460.
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Film and television literature reflects social reality and the direction of cultural thinking. In recent years, film and television works about the current situation of women in East Asia have attracted a great response in the market. Two typical examples are "Tōkyō Joshi Zukan" and the Chinese adaptation of "Beijing Women's Illustration", which portray in detail the workplace life, family background and personal growth experiences of contemporary women in these two East Asian countries, Japan and China, respectively. Tōkyō Joshi Zukan is a Japanese web series that started in 2016, was directed by Tabata, starred by Asami Mizukawa, and premiered on Amazon on December 16, 2016. Based on a four-panel manga of the same name, the series follows the twenty years of the life of Aya Saito, a girl from Akita Prefecture who has longed for the big city since childhood and comes to Tokyo after graduating from a local university. Beijing Women's Illustration is a drama co-produced by Xiong Kids Media and Youku, directed by Li Zhi, written by Zhang Jia and starred by Qi Wei, Chen Jin and Wu Yue, which premiered on Youku on April 10, 2018. Adapted from the novel of the same name, the drama is about the real-life relationships and lives of solo women represented by Chen Koyi, a northern drifting girl who experienced ten years in Beijing. This paper selects these two TV series for comparative study to explore the current situation of contemporary women's lives in East Asia.
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Nkealah, Naomi. "ANNE TANYI-TANG AND BOLE BUTAKE: TWO ANGLOPHONE CAMEROONIAN PLAYWRIGHTS WITH CONTRASTING VISIONS OF WOMEN". Imbizo 6, n.º 2 (21 de junho de 2017): 57–73. http://dx.doi.org/10.25159/2078-9785/2807.
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Anne Tanyi-Tang and Bole Butake are two literary giants whose works have contributed immensely to the development of Anglophone Cameroonian drama. This article examines their plays from a feminist perspective, comparing their creative visions in terms of how they locate women in relation to survival politics and marriage. The article argues that, while Butake’s plays project a vision of women that is both sexist and romanticised, Tanyi-Tang’s plays offer a more nuanced vision of women as assertive, rebellious and intelligent human beings who stage a successful resistance to patriarchy.
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Đuričić, Mila. "The film and the theater of panpsychism in 'Letters About the Theater' of L.N. Andreyev". Reci Beograd 12, n.º 13 (2020): 56–70. http://dx.doi.org/10.5937/reci2013056d.
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In our research, we saw that Andreyev's assumptions were fulfilled - the film perfected the technique of depicting the action and the scene. The truth theater has replaced the incomprehensible naturalist theater with the new viewer. Enchanted theater is what makes everyone involved in a play - the writer, the stage, the theater and the audience. New Age viewers have to play offstage. In order for viewers to participate in a play, it must be responsive to new challenges - a more developed intellect, which gives the theater a representation of "intellectual experiences", or as Andreyev puts it: "the time of the drama of the Word has come. The body is surrendered to the film, and the soul and thought to the theater. (…) there is the subtlest crack of survival, almost like a dream of the soul, projection into the fourth dimension…" In further research into this topic it would be interesting to examine the extent to which today's participants in the drama of the Moscow Art Theater (the Hudozhestveny Theater) follow Andreyev's conception, as well as to look at the pro et contra views of contemporary playwrights on the theater of panpsychism.
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Olson, S. Douglas. "Names and Naming in Aristophanic Comedy". Classical Quarterly 42, n.º 2 (dezembro de 1992): 304–19. http://dx.doi.org/10.1017/s0009838800015949.
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One of the ironies of literary history is that the survival of Aristophanic comedy and indeed of all Greek drama is due to the more or less faithful transmission of a written text. Reading a play and watching one, after all, are very different sorts of activities. Unlike a book, in which the reader can leaf backward for reminders of what has already happened or forward for information about what is to come, a play onstage can be experienced in one direction only, from ‘beginning’ to ‘end’. Nor can a play be put down and picked up again at one's leisure or interrupted while the audience puzzles over a difficult or intriguing passage. Live theatre is an ephemeral and essentially independent thing, which must be experienced in its own time and on its own terms or not at all, and as a result we modern readers, dependent on the written page, are at a marked disadvantage in understanding ancient drama. Taplin's study of staging in Aeschylus has shed considerable light on the dramatic technique of Athenian tragedy. Stage-practice in Aristophanic comedy, and in particular the ways in which names and naming are used there, has received much less attention.
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Levy, Jason K. "Negotiation Support for Environmental Disaster Management: Drama Theory II and the Survival of Louisiana's Indigenous Gulf Coast Tribes". Journal of Natural Resources Policy Research 2, n.º 4 (18 de outubro de 2010): 371–88. http://dx.doi.org/10.1080/19390459.2010.512726.
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Jakubowska-Krawczyk, Katarzyna. "„Інколи жах і обстріли – історією народження твоєї дитини…” Obraz dziecka w reportażach Jelizawety Honczarowej Десь поруч війна". Studia Ucrainica Varsoviensia 7 (27 de novembro de 2019): 61–75. http://dx.doi.org/10.5604/01.3001.0013.6012.
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The article analyzes a volume of literary reports by Ê. Gončarova Desʹ poruč vìjna. The texts that the writers come out from under the pen are deeply rooted in the described reality, not only thought out but also lived. Jelizaweta Honcharova writes reports from the war which brutally invaded her life (she comes from Artemivsk herself). In the texts, however, we will not fi nd despair, complaint or grief and pictures of the life of the areas through which the war is swept. The protagonists of the reports Desʹ poruč vìjna are people repeatedly subjected to war. The writer looks at their reactions to the next challenges, the struggle for survival, the safety of his family, and fi nally the normal living conditions. Jelizaweta Honcharova notices their confusion, the doubts on which side of the confl ict should be told. Without pathos and judgment, it shows the drama of political divisions and choices in which the boundary between being a patriot and a traitor is often not sharp clear może. He leans over a drama of broken families, confl icts and despair that break out in them. The author presents a war that kills childhood. It takes your big and smaller dreams away irretrievably. The drama of war presented by the writer takes place on many levels. The most important of them is probably the sphere of family life. War violates the basic tissue of relationships for children. Thanks to the reports of Honcharova, the reader notices the whole range of problems that a young man encounters. The reports are full of pain but also the awareness of the good that happens between people even in such inhuman times. They constitute a kind of testimony of history, designed to protect against possible attempts to manipulate it in the future. Thus, Honcharova gives them supra-regional and timeless dimension.
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S, Selvakumaran. "In Diaspora Countries - Tamil Culture and Arts". Indian Journal of Multilingual Research and Development 1, n.º 1 (17 de dezembro de 2020): 7–15. http://dx.doi.org/10.34256/ijmrd2012.
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Unable to cope with the brutal Sinhala aggression against Tamils in Eelam, the Eelam Tamils emigrated to foreign lands in an attempt to uplift their language, art, literature and culture in the countries where they had settled for survival. As a result, they established Tamil schools in the countries where they lived and celebrated the festivals of the Tamils such as Pongal festival and Deepavali festival, the spiritual festival of Murugan Kavadi dance festivel. During these festivals, the Tamil arts such as drama, silambam, oyil and kummi are performed with great diligence. In that sense, this article sets out to explore the way the Tamil diaspora promotes Tamil culture through their arts.
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Pramanta Putra, Jaqualine, Fauzi Syarief e Susana Susana. "ANALISIS PROGRAM NON DRAMA TERHADAP MINAT PROMOSI DAN MINAT MASYARAKAT BERKUNJUNG DALAM PERAN SERTA STASIUN TELEVISI". Akrab Juara : Jurnal Ilmu-ilmu Sosial 7, n.º 4 (5 de novembro de 2022): 47. http://dx.doi.org/10.58487/akrabjuara.v7i4.1933.
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Communities is important aspect in the survival of a tourist destinations and the community also an important aspect in the success a program a television show where in the program present information devoted to the communityAs for the kind of research used is research quantitative with the methods descriptive verifikatif which is to explain x, y and looking for relation of them in size sample as much as 140 respondents. The sampling techniques used is random sampling .Analysis techniques the data used analytics linear regression multiple. The research results show positive results and significant on variables subjects that is content program, format program, duration program and simultaneously to interest visit community. Magnitude impact of the Program of interest visit communities is a very important aspect for the continuity of tourism places in the program.
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Browder, Laura. "Sheep Hill Memories, Carver Dreams: Creating a Living Newspaper Today". Public Historian 26, n.º 2 (2004): 73–80. http://dx.doi.org/10.1525/tph.2004.26.2.73.
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In November 2000, the living newspaper drama Sheep Hill Memories, Carver Dreams premiered to packed houses at Virginia Commonwealth University (VCU) in Richmond. This documentary play concerns the history and survival of Carver, a historically African- American working-class community bordering VCU which was being threatened by the university’s planned expansion. Performed by a Carver-based theater group with a twenty-seven-year history, in collaboration with TheatreVCU, Sheep Hill Memories, Carver Dreams was the outcome of a two-year collaboration between a grass-roots community organization and the university. As playwright and co-director of the two-year Carver Living Newspaper Project, I present the development of the project, its outcomes, and the challenges we faced along the way in creating the play.
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Westlake, E. J. "El Güegüence, post-Sandinista Nicaragua, and the Resistant Politics of Dancing". Congress on Research in Dance Conference Proceedings 2011 (2011): 58–64. http://dx.doi.org/10.1017/s0149767711000301.
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Folk dance fulfills a particular function in the survival of communal memory. Community history and identity live through the animated body. But in the case of El Güegüence, Nicaragua's hybrid Spanish-Nahuatl dance-drama, many feel it is a contested tradition with a contested set of significations. Within that contestation, communal memory is fractured and ruptured in ways that produce a unique and dynamic discourse.In this paper, I will focus on Irene López's reworking of El Güegüence as the dance piece El Gran picaro. López has been criticized for altering the “authentic” dance tradition, a criticism she answers by pointing out that the original dance was lost when only the artifact of the dramatic text was preserved. López's reworking functions as collective memory and as an act of restored tradition, an invention meant to stand in for the original as faithfully as the inventor can imagine.I will also examine the redeployment of El Güegüence by groups who have embraced the figure and the act of dancing the masked drama as an expression of the subaltern, the marginalized, and the closeted minority identities within the context of the national culture, specifically Grupo Relajo, with its playful workshops built around the popular story. Ultimately, El Güegüence represents an artifact of the erasure of dance and, by extension, the indigenous body. Both López and Grupo Relajo, through their staging, resurrect the body of the indigenous Other and create a vehicle for the body to move in resistance to such erasure.
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Scott, Liam P. "California drownin’: An observational study of drowning and survival in the television drama Baywatch compared to real-life LA County". Resuscitation Plus 5 (março de 2021): 100061. http://dx.doi.org/10.1016/j.resplu.2020.100061.
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Pecina, Jozef. "The Hillbilly Stereotype in Horror Comics". Ars Aeterna 15, n.º 2 (1 de dezembro de 2023): 22–31. http://dx.doi.org/10.2478/aa-2023-0008.
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Abstract From William Byrd’s 18th-century “lubbers” of the North Carolina backcountry through the deviant gun-toting hicks with missing teeth from John Boorman’s survival thriller Deliverance (1972) to Darlene Snell from Netflix’s recent crime drama series Ozark (2016), the stereotype of the “hillbilly” has been one of the most pervasive images in American popular culture. This image has been usually associated with mountaineers inhabiting either the Appalachians or the Ozarks, and it has portrayed them as dirty, lazy, ignorant, often mean, violent and dangerous. Since the beginning of the 20th century, it has been popularized by film, music, and, starting with the Depression Era, also by comic strips such as Al Capp’s Li’l Abner, which shaped all subsequent depictions of these mountain folk. This article considers the depiction of hillbillies in comics with a focus on horror comics published by EC in the early 1950s.
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Čengić, Almedina. "ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS". Knowledge International Journal 28, n.º 7 (5 de dezembro de 2018): 2361–65. http://dx.doi.org/10.35120/kij28072361a.
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The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.
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Polkovsky, Valerii. "GEORGE RYGA AND ENGLISH-CANADIAN THEATRE". RESEARCH TRENDS IN MODERN LINGUISTICS AND LITERATURE 4 (23 de dezembro de 2021): 35–46. http://dx.doi.org/10.29038/2617-6696.2021.4.35.46.
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The article considers the contribution of the famous Canadian playwright of Ukrainian descent George Ryga into English-Canadian theatre. The most important feature of Ryga’s style is a special attention to the life, feelings, struggles of downtrodden (marginalized, oppressed, neglected, abused) people in a Canadian society (whether they are Indians, Ukrainians, Italians, or other nation or nationality) with a humane and dignified face under unbearable conditions of physical, moral, existential survival. Psychological nuances are presented by George Ryga vividly, persuasively and convincingly. George Ryga is one of the pillars of building a strong and nationally-oriented EnglishCanadian theatre and drama. Ryga Studies have to pick up their tempo here in Canada (where exists substantial literature on his creative heritage and its peculiarities), and especially in Ukraine (where Ryga, unfortunately and undeservedly, remains basically unknown and unresearched, in spite of some positive steps towards appreciation and recognition of its diverse literary heritage for Ukraine).
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Stojković, Marijana. "Story Korito by Svetomir Arsić Basara: Interpretation". Zbornik radova Filozofskog fakulteta u Pristini 51, n.º 4 (2021): 149–68. http://dx.doi.org/10.5937/zrffp51-31827.
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This work will attempt to interpret the process of psychologization and characterisation of characters of the short story Korito by Svetomir Arsić Basara, a famous artist, academic, sculptor, and writer. The aim is to show how the context influenced the creation of the short story, bearing a distinct biographical dimension. Korito is a story of the real and tough life of the people in the Šar-mountain area-poverty and the struggle for survival in the amazing but ruthless nature of the mountain region. In the souls and consciousness of all the characters of the story, a kind of psychological drama takes place due to the anguish of a torturous and gloomy life in poverty. In the whirlpool of mixed feelings and the struggle for bare necessities, a rift occurs in their souls, especially the souls of children. That rift will endure and shape their maturation, growing up, and creation. Therein lies the motivation for this story.
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Choi, Eun-Jung, Sungki Cho, Deok-Jin Lee, Siwoo Kim e Jung Hyun Jo. "A Study on Re-entry Predictions of Uncontrolled Space Objects for Space Situational Awareness". Journal of Astronomy and Space Sciences 34, n.º 4 (dezembro de 2017): 289–302. http://dx.doi.org/10.5140/jass.2017.34.4.289.
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The key risk analysis technologies for the re-entry of space objects into Earth’s atmosphere are divided into four categories: cataloguing and databases of the re-entry of space objects, lifetime and re-entry trajectory predictions, break-up models after re-entry and multiple debris distribution predictions, and ground impact probability models. In this study, we focused on reentry prediction, including orbital lifetime assessments, for space situational awareness systems. Re-entry predictions are very difficult and are affected by various sources of uncertainty. In particular, during uncontrolled re-entry, large spacecraft may break into several pieces of debris, and the surviving fragments can be a significant hazard for persons and properties on the ground. In recent years, specific methods and procedures have been developed to provide clear information for predicting and analyzing the re-entry of space objects and for ground-risk assessments. Representative tools include object reentry survival analysis tool (ORSAT) and debris assessment software (DAS) developed by National Aeronautics and Space Administration (NASA), spacecraft atmospheric re-entry and aerothermal break-up (SCARAB) and debris risk assessment and mitigation analysis (DRAMA) developed by European Space Agency (ESA), and semi-analytic tool for end of life analysis (STELA) developed by Centre National d’Etudes Spatiales (CNES). In this study, various surveys of existing re-entry space objects are reviewed, and an efficient re-entry prediction technique is suggested based on STELA, the life-cycle analysis tool for satellites, and DRAMA, a re-entry analysis tool. To verify the proposed method, the re-entry of the Tiangong-1 Space Lab, which is expected to re-enter Earth’s atmosphere shortly, was simulated. Eventually, these results will provide a basis for space situational awareness risk analyses of the re-entry of space objects.
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Speiser, Vivien Marcow, e Phillip Speiser. "There Are No Silos When We Are All Suffering: Interviews and Reflections on Ubuntu and the Arts in South Africa during COVID-19". Creative Arts in Education and Therapy 8, n.º 1 (23 de agosto de 2022): 71–88. http://dx.doi.org/10.15212/caet/2022/8/2.
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This article will draw upon some of the creative work being done in South Africa from March 2020 through December 2021, during the time of the coronavirus disease 2019 (COVID-19) worldwide pandemic, by artists working across disciplines in education, community, health, and mental health. The authors had been located in Johannesburg, South Africa, in early 2020, when their stay was cut short by the spread of the COVID-19 virus and the worldwide border shutdowns that followed as they were recalled to the USA in March 2020. They have remained in communication and contact with their colleagues in South Africa, and this article is based upon these observations and interactions. This article will describe some of the initiatives and programs developed by artists in the country as well as by the faculty in the Drama for Life program at the University of the Witwatersrand and the Art Therapy program at the University of Johannesburg. These initiatives have been used toward survival and healing in this liminal space of the COVID-19 crises.
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Šlapkauskaitė, Rūta. "The He(A)rt of the Witness: Remembering Australian Prisoners of War in Richard Flanagan’s The Narrow Road to the Deep North". Anglica. An International Journal of English Studies, n.º 30/3 (1 de setembro de 2021): 141–61. http://dx.doi.org/10.7311/0860-5734.30.3.08.
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This paper engages Cathy Caruth’s thinking about trauma, Marianne Hirsch’s notion of postmemory, and Giorgio Agamben’s theorising of bearing witness to examine the affective performance of remembering in Richard Flanagan’s novel The Narrow Road to the Deep North. Reading the narrative as a postmemorial account of Japan’s internment of Australian POWs in Burma during the Second World War, I focus on the body as a site of both wounding and witnessing to show how the affective relays between pleasure and pain reanimate the epistemological drama of lived experience and highlight the ambivalence of passion as a trope for both suffering and love. Framed by its intertextual homage to Matsuo Bashō’s poetic masterpiece of the same name, the Australian narrative of survival is shown to emerge from the collapse of the referential certainties underlying the binaries of victim/ victimiser, witness/perpetrator, human/inhuman, and remembering/forgetting. In Flanagan’s ethical imagination, bearing witness calls for a visceral rethinking of historical subjectivity that binds the world to consciousness as a source of both brutality and beauty.
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Milanovic, Biljana. "Contextualization of early modernism in Serbian music: Case studies of two works from 1912". Muzikologija, n.º 6 (2006): 251–66. http://dx.doi.org/10.2298/muz0606251m.
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This study deals with the first Serbian oratorio, Vaskrsenje (Resurrection) by Stevan Hristic, and the first Serbian musical drama, Divina Tragoedia by Milenko Paunovic. These works are based on two different interpretations of the same theme (the Resurrection of Jesus Christ). They were composed almost at the same time (1912), but separately, with no inter-textual relations. They represent the first steps of Modernism in Serbian music. Hristic?s work follows the French and Italian heritage whereas Paunovic?s is connected with the German, post-Wagnerian tradition. In this text we highlight the different intensities of modernity realized by the composers, by comparing numerous aspects of the theme, genre and style with new types of expressiveness and procedures in the treatment of all musical resources. The parallel investigation of the oratorio and musical drama shows the closeness of these two young composers in their musical attempts, but also emphasizes some factors that were decisive for the public presentation of their works. Hristic predicted that the genre of oratorio had better chances of placement than, for example, a symphonic or musical-dramatic composition. Actually, a choir had strong links with tradition and it presented a significant means of potential communication, as well as penetrating novelties into other parts of the oratorio. Due to his readiness to make an effort and to compromise, the composer succeeded in performing his work. On the other hand, Paunovic did not anticipate problems in the national cultural system of his time. Numerous aspects of his work, which prevented performance, confirm this. The chosen genre of German musical drama was a very speculative investment in the local musical context. Furthermore, the score was inappropriate for the real reproductive potential of Serbian performers. In addition, an avant-garde gesture was marked by the blasphemous treatment of the New-Testament theme in the dramatic content. These were among the most important indications of the author's unrealistic estimation of potential public reception of his music. Modern works of large-scale genre had no prospects of continual survival on the concert repertoire in the period between the two World Wars, either. This testifies to long-standing problems of national musical tradition, especially in consequence of its discontinued and uneven development. This study of early modernism shows the value of researching Serbian music through different cultural models existing in the system of national art of this time. The network of political, economical and cultural institutions was imbued with modern bourgeois culture, but the struggle for its wider acceptance in the domains of everyday life, self-consciousness, and the mentality and taste of different social groups and individuals, was slow and long. Such attempts have not always and fully realized the particular burden of inheritance, reflected in recent times.
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Sharma, Yam Prasad. "Common Patterns in Contemporary Nepali Arts, Life and Society". Journal of Fine Arts Campus 3, n.º 2 (31 de dezembro de 2021): 11–22. http://dx.doi.org/10.3126/jfac.v3i2.48226.
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There are common trends and patterns in contemporary Nepal arts, politics, society, culture and education along with other dimensions of life. Such similarities suggest the interconnectedness of diverse dimensions of reality. One area mirrors the other one. Looking at art, we can infer the life and culture of the people. Superstructure is reflected in the base; and the base has been reflected in superstructure. Hypocrisy, pretention and imitation are the common patterns of Nepali art, culture and life in contemporary context. Due to such features, the foundation of the nation is shaking. The things that need to remain in the foundation are drifting on the surface. The drama of art, agriculture, education and politics will not support life and survival. It is just for showing until the disaster takes place. When there will be critical and catastrophic situation, we are sure to be drowned. Before this apocalypse, it is necessary to do little things that are real which enhance our art and life, which add a little stone on the foundation of the civilization. This research paper analyzes contemporary Nepali artworks and links them to cultural, social and political dimensions of the contemporary context. This is qualitative research since it interprets arts and events, and the interpretations can be multiple.
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Mapindani, Aleck. "FATED EXISTENCE? CALCULATING THE TRAGIC CULMINATIONS OF OTHELLO AND OEDIPUS THE KING". Imbizo 6, n.º 2 (21 de junho de 2017): 43–48. http://dx.doi.org/10.25159/2078-9785/2805.
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The tragic trail that both Shakespeare and Sophocles take as fictional playwrights marks a remarkable approach to dramatic writing that leaves no shade of doubt upon their proficiency in this particular field.The Shakespearian option follows a discernible literary trajectory reflective of military nobility juxtaposed with a myopic and gullible stature of simplicity. This, however, projects an extremised Moorish level of racial vulnerability and criticism that yields to manoeuvred deception through diplomatic machinations by the jealous Venetian lot. Sophoclean drama is, in this case, an embodiment of the harsh spells of predestiny taking their toll behind an unconscious conceited politician – from before his birth right up to maturity and his climactic royal demise. In both plays, the dramatic interplay of thematic motivations seem to signal a back-and-forth war between humanity (that is, a human struggle for survival fought against personal flaws) and the phenomenally devastating forces of fate and nature that direct their feet towards heroic ruin. The article takes an interrogative stance, calculating the cause of the interwoven mysteries embedded in both human carnality and celestial forms that advise the heart-rending literary movements adopted by the twin plays as they march inexorably towards the downfall of their respective heroic figures.
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Liman, Abubakar Aliyu. "Memorializing a Legendary Figure: Bayajidda the Prince of Bagdad in Hausa Land". Afrika Focus 32, n.º 1 (27 de fevereiro de 2019): 125–36. http://dx.doi.org/10.1163/2031356x-03201008.
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This paper examines the various ways in which the Bayajidda legend is memorialized. In its current manifestations, the legend can be seen as an important agency for the remembrance of the past in the context of rapid socio-historical change in Africa, under the influence of modernity, technology and globalization. The analysis begins by highlighting the interface between folklore and history in everyday cultural practices in postcolonial northern Nigeria. The signposts that give a coherent structure to the paper include the chronicles of the Bayajidda legend, the essential oral version circulating in its different forms in Hausa society. Over the years, reference to the legend of Bayajidda has always been made through the use of different modes of cultural expression such as song, dramatic performance, film and other forms of narration. This range has served the political and ideological interests of the dominant power elite who are consistently alluding to the Bayajidda legend. The survival of the essential oral narrative therefore depends solely on a strategy of alluding to the legend in its various guises, including the form of museum artifacts, drama, films and musical songs. However, the paper explores each of the specific historical periods from the pre-colonial down to the colonial and postcolonial epochs with a view to highlighting how specific forms of the legend are deployed by hegemonic structures for the purposes of legitimation.
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Kushchayev, Sergiy V., Evgenii Belykh, Yakiv Fishchenko, Aliaksei Salei, Oleg M. Teytelboym, Leonid Shabaturov, Mark Cruse e Mark C. Preul. "Two bullets to the head and an early winter: fate permits Kutuzov to defeat Napoleon at Moscow". Neurosurgical Focus 39, n.º 1 (julho de 2015): E3. http://dx.doi.org/10.3171/2015.3.focus1596.
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General Mikhail Kutuzov (circa 1745–1813) brilliantly repelled Napoleon’s invasion of Russia. Honored as a national hero and a savior of Russia, Kutuzov has a unique medical story. He was shot in the head twice while fighting the Turks (1774 and 1788) and survived the serious injuries seemingly against all odds. The first bullet “ran through the head from one temple to the other behind both eyes.” The second bullet entered the cheek, destroyed upper teeth, traveled through the head, and exited the occiput. Massot, a French surgeon with the Russian army, wrote after treating Kutuzov’s seemingly two mortal wounds: “It must be believed that fate appoints Kutuzov to something great, because he was still alive after two injuries, a death sentence by all the rules of medical science.” Aided by Massot’s expert surgical technique, Kutuzov lived to become intimately engaged in events that altered world history. His health did, however, suffer significant effects due to the bullet wounds. In 1812, as Napoleon’s Grande Armée approached, Kutuzov realized he could not confront Napoleon and he strategically retreated from Moscow, submitting the French to the harsh winter and Russian cavalry. Napoleon’s devastated army retreated to Paris, and Kutuzov became the personification of Russian spirit and character. Kutuzov’s survival of two nearly mortal head wounds created the legends, additional mystery, and drama surrounding him, not the least astonishing of which was the skilled neurosurgical care that probably saved his life.
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Bodnar, Hałyna. "Wojna w jednym losie". Krakowskie Pismo Kresowe 9 (30 de setembro de 2018): 91–111. http://dx.doi.org/10.12797/kpk.09.2017.09.04.
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The War in One Fate: Biographical Narratives of Widows of Soviet Servicemen on the Basis of Letters to the Authorities of Lviv in 1944-1945The article analyzes letters written in late 1944 and in 1945 by widows of Soviet servicemen to the authorities of the city of Lviv requesting a permit to move or return to Lviv, the construction of women’s biographical narratives and the image of women in the war. The main topic discussed in post-war correspondence was the war trials and different fates of women sharing the experience of life in Lviv in 1939 -1941. It demonstrates similar strategies of survival and communication with the totalitarian state, and the contradictory image of woman in war time. The personal drama of her husband’s death, the sudden collapse of the social hierarchy, and, in particular, the destruction of “pre-war” housing stock in Lviv and other livelihood opportunities in a big city, prompted woman, in the already partly assumed role of the head of the family, to look for ways to regain their former position. Probably, they wrote special letters, among many other quite similar appeals to the government, in order to attract attention to themselves. The narrative analysis of the letters has made it possible to isolate the images of Lviv in the representations of people of the (post)war period, to disclose the „Soviet language” and the (un)typical gender-related aspects of texts written by women.
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Manugeren, M., Burhanuddin Arafah, Purwarno Purwarno, Purwanto Siwi, Susi Ekalestari e Sri Wulan. "An Ecoliterature Approach to Environmental Conservation: Take Four Selected Literary Works as Examples". Theory and Practice in Language Studies 13, n.º 5 (1 de maio de 2023): 1318–27. http://dx.doi.org/10.17507/tpls.1305.28.
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The reciprocal relationship between humans and nature is determined based on their respective natures. This mutualism symbiosis is based on a relationship of use for mutual prosperity. Living together with nature means living in cooperation, mutual help and tolerance. The whole relationship becomes an inseparable entity; all things are interrelated and functional and have the same goal of protecting and preserving nature. Protecting the environment is key to the survival of fragile ecosystems, wildlife, and even humankind. However, the endless human needs often make humans act excessively, exploiting the environment as much as possible to meet the needs of life, resulting in severe environmental damage. This is the rationale for raising the theme of environmental conservation through literary media by referring to the concept and theory of eco-literature. The whole research is conducted using a qualitative descriptive method that focuses on content analysis, revealing the concept of nature conservation. The data sources are obtained from literary works randomly taken: Lines Written in Early Spring, a poem by William Wordsworth, Ode to Nightingale, a poem by John Keats, Nature, an essay by Ralph Waldo Emerson and An Enemy of the People, a drama by Henrik Ibsen. The results show that all the literary works chosen stand as the representative of literature on environmental conservation and literary works are sure to become an appropriate medium to teach and awaken people’s consciousness of the importance of nature conservation.
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Waheed, Seemi. "Sartaj Aziz. Between Dreams and Realities: Some Milestones in Pakistan’s History. Karachi: Oxford University Press. 2009. Pak. Rs 595.00." Pakistan Development Review 49, n.º 1 (1 de março de 2010): 73–75. http://dx.doi.org/10.30541/v49i1pp.73-75.
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The geo-strategic location of a country gives it advantage or disadvantage in its relation with the comity of nations and addressing its domestic challenges. The vision, acumen and capacity of political leadership, however, determine the maximisation of advantages from geo-strategic location in attaining the national interests. Interplay of domestic political power, geo-strategic location and global power dynamics are aptly reflected in the political history of Pakistan as narrated in “Between Dreams and Realities”. “Between Dreams and Realities” is both an autobiography and dispassionate account of Pakistan’s chequered history as the author puts it “watched the political drama as ring side observer.” The author was actively engaged in roles, confronting formidable challenges to improve policy coordination and implementation. A sequenced political, economic, and foreign relations history of Pakistan is described illustrating turning points, milestones, and debacles in her existence as a country. The political scenario of Pakistan, marred by intermittent military takeovers, with disregard, and mutilation of the constitution, mainly served personal interests. The rulers, irrespective of whether elected or otherwise, conjoined survival of their rule with that of the country. Thereupon, usurpation of power is legitimised by engineered elections or putting in place pliable judiciary. The indiscipline in political parties, absence of vision, political inexperience, self-centered, and headlong political leaders, increased the vulnerability of parliament to complete its tenure. Weak organisation of political parties is, thus easily maneuverable to the wheeling, dealings, and gaming of ‘establishment’. This is amply visible in all military takeovers of elected governments, right from throwing of Zulfiqar Ali Bhutto’s government to dissolution of Nawaz Sharif’s government in 1999.
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Ye, Ye, e Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective". Journal of Chinese Literature and Culture 8, n.º 1 (1 de abril de 2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.
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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have been widely appreciated as a “literary-cultural phenomenon” unrelated to music per se. Standard histories of Chinese literature typically interpret the interaction between Song dynasty ci song lyrics and Yuan dynasty sanqu songs and song-drama as a natural evolution of literary forms. To be sure, these histories address the vitality of the musicality and popular nature of such songs while also paying attention to the artistic styles, inherent characters, and originality of sanqu song composition (tige xingfen 體格性分). From such an analysis, however, we know very little about the textual forms and mechanisms of transmission of Yuan-Ming sanqu songs beyond the realm of music and songwriters. In this regard, this article explores whether it was possible for the ci song lyrics, as a literary genre of greater maturity and higher status, albeit divorced from music, to transfer its literary experience to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs.
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Bossenbroek, Lisa, e Hind Ftouhi. "The plight of female agricultural wageworkers in Morocco during the COVID-19 pandemic". Cahiers Agricultures 30 (2021): 40. http://dx.doi.org/10.1051/cagri/2021027.
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While vaccination campaigns against COVID-19 were launched worldwide, a drama has been unfolding in the Moroccan countryside. It has been marked, over the last couple of decades, by rapid agrarian transformation, manifestations of which have included expanding irrigation frontiers and the increasing growth of high-value crops. These dynamics rely strongly on female agricultural wageworkers. Although they earn low wages, their income is crucial and is used to care for loved ones by paying for school fees, rent, electricity, and medicines. These workers, therefore, cannot afford to quit their jobs. However, most female wageworkers in Morocco are employed without a contract or social security cover. While working in an informal environment and living already in a precarious situation, little is known about how the pandemic has affected them. In this article, we seek to supply some of this information by drawing on the authors’ commitment over almost a decade of covering female wage-workers’ experiences in different agricultural regions in Morocco. Additionally, since March 2020, we have conducted 30 phone interviews with female laborers and farmers in the Saiss and in the coastal area of the Gharb and Loukkos. Using the pandemic as a focus, our results illustrate the inherent contradictions upon which Morocco’s agricultural boom has been founded. Although many female laborers are de facto heads of household or contribute in fundamental ways to the household income, they continue to be considered as secondary earners or as housewives, leading to low structural wages. Moreover, these women assume the prime responsibility for all domestic tasks, which are not economically recognized or valued. Consequently, they face new challenges in addition to their already precarious situations. Reduced work opportunities and limited state support have led to financial and psychological hardship which jeopardize their own and their family’s survival.
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Faria, Ângela Beatriz De Carvalho. "A (im)possibilidade de dar corpo ao passado em Não é meia noite quem quer, de António Lobo Antunes". Revista do Centro de Estudos Portugueses 34, n.º 52 (31 de dezembro de 2014): 103. http://dx.doi.org/10.17851/2359-0076.34.52.103-116.
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<p>A partir das reflexões críticas presentes em <em>A imagem sobrevivente: história da arte e do tempo dos fantasmas segundo Aby Warburg</em>, de Georges Didi-Huberman, <em>Origem do drama trágico alemão </em>e <em>O anjo da História</em>, de Walter Benjamin, “Melancolia e saudade”, de Eduardo Lourenço, e <em>As mulheres na ficção de António Lobo Antunes: (in)variantes do feminino</em>, de Ana Paula Arnaut, pretende-se analisar o romance <em>Não é meia noite quem quer </em>(2012), de António Lobo Antunes, privilegiando-se as seguintes questões: a) De que maneira a “melancolia faz do corpo a fonte do desencanto da alma perante o mistério da existência”?; b) Como o espaço-tempo da História, sutilmente aludido na ficção antuniana, torna-se parte integrante de um tempo trágico, inerente à personagem imersa na memória, em busca de ruínas?; c) Como o esquecimento e a (im)possibilidade de dar corpo ao passado são tematizados na narrativa do século XXI?; d) Quais são as estratégias discursivas que sustentam isso?; e) Não haveria um “tempo para os fantasmas”, uma “sobrevivência” e/ou uma “reaparição de imagens” na narrativa que reflete a crise da subjetividade coerente e da representação?; f) Quais são as estratégias da memória numa era de catástrofes, em que se observa o primado das ruínas da casa, da família e dos afetos?; g) De que maneira delineia-se a oscilação comum ao melancólico, situado entre a infelicidade narcísica e o triunfo da alegria?</p><p>From the critical reflexions on <em>A imagem sobrevivente</em>: história da arte e do tempo dos fantasmas segundo Aby Warburg, written by George Didi-Huberman, <em>Origem do drama barroco alemão </em>and <em>O anjo da história</em>, by Walter Benjamin, “Melancolia e saudade”, by Eduardo Lourenço, and <em>As mulheres na ficção de António Lobo Antunes</em>: (in) variantes do feminino, by Ana Paula Arnaut, we intent to analyze the romance <em>Não é meia noite quem quer</em>, written by António Lobo Antunes, focusing on the following issues: a) How the “melancholy makes the body a source of disenchantment of the soul in front of the existence’s mystery”?; b) How History’s space-time, subtly alluded on the antuniana fiction, becomes integrant part of a tragic time, inherent to the character immersed in memory, in seek of ruins?; c) How oblivion and the (im) possibility to embody the past are themed on the XXI century? d) Which are the discursive strategies to support it?; e) Would exist a “time for ghosts”, a “survival” and/or a “reappearance of images” in the narrative that reflects the crisis of coherent subjectivity and of representation?; f) Which are the memory strategies on a catastrophe era, where there are ruins of the house, the family and affections?; g) How to delineate the common oscillation of the melancholic, situated between the narcissistic unhappiness and the triumph of joy?</p>
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Panoussi, Vassiliki. "Vergil's Ajax: Allusion, Tragedy, and Heroic Identity in the Aeneid". Classical Antiquity 21, n.º 1 (1 de abril de 2002): 95–134. http://dx.doi.org/10.1525/ca.2002.21.1.95.
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This essay attempts a reevaluation of the use of Greek tragedy in Vergil's Aeneid, drawing on recent advances in the study of literary allusion and on current approaches to Greek drama which emphasize the importance of social context. I argue that extensive allusions to the figure of Ajax in the Aeneid serve as a subtext for the construction of the personae of Dido and Turnus. The allusive presence of Ajax attests to the existence of a tragic register in the epic, which intersects with and complicates the multiple allusive registers within the poem. Moreover, I propose that a detailed examination of Vergil's manipulation of tragedy's articulation of socio-political and ideological problems may in turn illuminate the Aeneid as a national epic and its much-contested relationship with Augustan ideology. More specifically, I argue that issues of identity and moral action explored in Sophocles' Ajax are crucial in the cases of Dido and Turnus, who similarly find themselves in conflict with and unable to adapt to the new social and political structure of Aeneas' new order. Like Ajax, Dido and Turnus define themselves through constant reference to their relationship with their people. All three, however, engage in action which pits them against the interests of their communities and which results in their complete isolation. Unable to adjust their behavioral code to ensure their survival, Dido and Turnus embody a heroic ideal which, though laudable, can have no place in Aeneas' Roman future. Vergil thus mobilizes a tragic allusive register in order to illustrate the tension between the celebration of this ideal and the realization that social change has rendered it obsolete. At the same time, the loss of the ideals that Dido and Turnus represent necessitates the articulation of a comparable, if not superior, ethical code which Aeneas is called on to embody. Allusive evidence linking Aeneas to the tragic Ajax, however, seems to indicate Aeneas' failure to emerge as a superior moral force in the poem.
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Zernetska, O. "The Development of Australian Culture in the XX Century: Australian Film Industry". Problems of World History, n.º 11 (26 de março de 2020): 174–200. http://dx.doi.org/10.46869/2707-6776-2020-11-10.
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This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries.
The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies.
A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century.
The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.