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Artigos de revistas sobre o assunto "Undertakers and undertaking – drama"
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Viktorovich, Vladimir. "Dostoevsky’s Lost Play “Boris Godunov” (Sources, Concept)". Неизвестный Достоевский 11, n.º 1 (março de 2024): 5–43. http://dx.doi.org/10.15393/j10.art.2024.7121.
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According to contemporaries, the play “Boris Godunov” was written by Dostoevsky before he began work on the novel “Poor People.” The manuscript of the play is lost. Some assumptions about its composition have been made in the scientific literature, but this article for the first time undertakes a systematic analysis, if possible, of all the alleged sources of the idea, as well as some of its reflections in the writer’s later works. The article examines the situation in Russian historiography and fiction related the coverage of the reign of Boris Godunov and the personality of the tsar himself prior to Dostoevsky’s undertaking of this topic. The key sources for him were the 9 volumes of Karamzin’s “History of the Russian State” and Pushkin’s “Boris Godunov,” which formed the consciousness of the future writer since the times of family readings in his parents’ house. Subsequently, Dostoevsky faced an acute dispute in literature around Karamzin and Pushkin, who declared Godunov guilty of the murder of Tsarevich Dmitry. Their position was supported in the 1830s by the authors of historical dramas V. T. Narezhny, A. S. Khomyakov, and M. E. Lobanov. The historians M. P. Pogodin, N. S. Artsybashev, and A. A. Kraevsky defended Godunov; their point of view was reflected in the dramas of the same Pogodin and G. F. Rosen. F. V. Bulgarin took an ambivalent position in both journalism and prose. Dostoevsky was undoubtedly familiar with Schiller’s printed sketches for the tragedy “Demetrius,” where the figure of Boris Godunov as psychologically complex and ambiguous. The critics of Pushkin’s Boris Godunov N. I. Nadezhdin, N. A. Polevoy, and V. G. Belinsky played a certain role in shaping Dostoevsky’s idea. In “interacting” with them, Dostoevsky obviously developed a new twist in the dramatic plot, which resolved the historians’ dead-end disputes. In his play, which absorbed the dramatic experience of Shakespeare, Racine, Schiller, as well as the historical legends around Alexander I and Napoleon, a version was proposed about Godunov’s indirect guilt in Dmitry’s death and about the hero’s unwavering moral responsibility even for indirect complicity in a crime. This motif was developed in Dostoevsky’s subsequent works, such as “Netochka Nezvanova” (Efimov), “Demons” (Stavrogin), “Brothers Karamazov” (Ivan). It can be stated with a high degree of confidence that the origin of the concept of expanding guilt and responsibility for it occurred in the very first works of the writer — the tragedies “Mary Stuart” and “Boris Godunov.” The author of the article suggests the formation of Dostoevsky’s aesthetics in the context of the development of Russian historical drama.
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Fletcher, Kami. "Black Women Undertakers of the Early Twentieth Century Were Hidden in Plain Sight". Meridians 22, n.º 2 (1 de outubro de 2023): 478–502. http://dx.doi.org/10.1215/15366936-10637582.
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Abstract This essay foregrounds Black women in the very narrative of undertaking that they helped create and develop. It was the wives who helped start the country’s oldest undertaking firms, and it was the wives, sisters, and daughters who sustained and professionalized the funeral home legacy. The article follows women from the American South and mid-Atlantic regions, illustrating how, with their skills and capital, they labored not just as funeral directresses, embalmers, and undertakers but also as bookkeepers, hairdressers, accountants, caterers. These women were “race women,” college-educated Black women who were trained to uplift the race. And as race women in the death trade, they brought their skills and education to a field that created generational wealth and civic empowerment.
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Xiaofei, Ren, Li Lanlan, Zhang Chuanrui, Lu Jing e Liu Feng. "Corpus stylistics of drama in drama translation studies". Babel. Revue internationale de la traduction / International Journal of Translation 60, n.º 4 (31 de dezembro de 2014): 425–44. http://dx.doi.org/10.1075/babel.60.4.02xia.
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Drama translation studies used to be the most neglected area in translation studies due to its prescriptive approaches and reductionist illusion of polarization of performability and readability. Corpus stylistics of drama, with the aid of computer technology as well as the understanding of the true nature of drama as the dialectical combination of both literary and theatrical characteristics, appears to be a remarkable theoretical framework and methodology for drama translation studies. The study of (im)politeness in Death of a Salesman and its two Chinese versions is undertaken as a case study. ICTCLAS and Concordance 3.0 were used to calculate the high frequent expressions concerning (im)politeness in both the original text and the Chinese versions, followed by the analysis of their stylistic function. It is found that modal particles and slang expressions in Chinese are useful to reconstruct the characterization, plot as well as performability of the translated drama. In conclusion, corpus stylistics of drama is of high feasibility in drama translation studies.
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van Langevelde, F., F. Kiggen, C. van Dooremalen e B. Cornelissen. "Corpse removal increases when honey bee colonies experience high Varroa destructor infestation". Insectes Sociaux 67, n.º 4 (novembro de 2020): 507–13. http://dx.doi.org/10.1007/s00040-020-00789-y.
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AbstractHigh parasite load may increase honey bee mortality, which enhances stimuli for undertaker recruitment in colonies due to the presence of more corpses. However, it is unknown whether colonies exposed to the parasitic mite Varroa destructor (V+ colonies) remove corpses faster compared to colonies with reduced parasite levels (V− colonies). To test this hypothesis, different amounts of dead bees (25 or 100) were added to V+ and V− colonies to increase undertaker’s workload and to monitor the colonies’ undertaking performance (number of corpses removed after fixed time intervals and time until task completion). Until 40 min after adding corpses, V+ colonies had removed more corpses compared to V− colonies, especially when 100 corpses were added. At 100 min after adding the corpses and onwards, the difference between the V+ and V− colonies disappeared. V+ colonies used less time until task completion, especially when challenged to remove 25 corpses. The first efficient undertaking response in V+ colonies may have been caused by more or more experienced undertakers on standby compared to V− colonies, resulting in less total time needed to complete their undertaking task at increased workload. Our study suggests that changes in the division of labour in V+ colonies were not impaired, but we cannot exclude long-term effects for the colony as time spent on undertaking cannot be spent on other tasks. Our study contributes to understanding of social resilience in colonies under high stress and exposed to immediate emergencies.
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Gorbachev, Igor' Nikolaevich. "A game of hide and seek. Dramatic Mechanisms in Chekhov's «The Seagull»". Философия и культура, n.º 8 (agosto de 2023): 77–101. http://dx.doi.org/10.7256/2454-0757.2023.8.43536.
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The analysis of the play "The Seagull" undertaken in the article is based on an unusual assumption. Chekhov's phrase is known that "after writing a story, you should cross out its beginning and end." What if we apply this "formula" to the dramatic works of Anton Pavlovich and assume that when finishing the plays, Chekhov "left out some part of the text"? The analysis of the "Seagull" is performed directly by the classic tool of directors – the method of effective analysis. The work involved a wide range of facts about the social and everyday realities of the Russian Empire of the late XIX - early XX century. The choice of the play "The Seagull" is due to two reasons. Firstly, it is one of Chekhov's most famous and popular dramas. Interest in it has not waned for many decades, neither the audience nor the directors. Secondly, it is believed that the "Seagull" is read inside and out, and working with it is a challenge for the researcher. The analysis of "The Seagull" allows us to state that Chekhov's formula about "crossing out the beginning and the end" of the story is also applicable to his plays. Moreover, this "crossing out" is made taking into account the principles of classical drama. As a result, the reader is faced with the fact that the "Seagull" can be read in at least two – almost opposite in meaning – ways. The results obtained during the analysis, firstly, give grounds to assume that the case of the "Seagull" is not an isolated one, and Chekhov resorted to similar techniques in his other dramas. Secondly, to conclude that the "dramatic mechanism" of The Seagull is not just an attribute of the author's voice, but actually the path of evolution of classical drama proposed by Chekhov.
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Ward, Julie, Helen Frances Mills e Alan Anderson. "Drama in the Dale: Transformation Through Community Drama". Harvard Educational Review 83, n.º 1 (26 de março de 2013): 54–61. http://dx.doi.org/10.17763/haer.83.1.k746345q366v0023.
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During the winter of 2011-2012, Weardale, England, was the setting for an ambitious informal adult education project. In this rural area in the northeast part of the country, the local arts collective, Jack Drum Arts, established a community play project entitled The Bonny Moorhen. This dramatic undertaking aimed to retell the story of the infamous Battle of Stanhope, a local lead miners’ uprising. The project took place in a converted barn and involved a group of sixty learners of all ages and from all walks of life. The troupe formed the choir, band, backstage crew, and company of actors who, with the support of professional artists, built a temporary theater space. Each member of this collective made a personal journey. Here Helen Mills and Alan Anderson, in association with Julie Ward, cofounder and project producer at Jack Drum Arts, offer their personal testimonies from the project.
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Swaab, Peter. "The Line of Beauty". Film Quarterly 60, n.º 3 (2007): 10–15. http://dx.doi.org/10.1525/fq.2007.60.3.10.
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ABSTRACT The BBC TV adaptation of Alan Hollinghurst's Booker Prize-winning 2004 novel of Aids and Thatcherism was undertaken by Andrew Davies, best known for his version of Pride and Prejudice. Directed by Saul Dibb, The Line of Beauty's depiction of 1980s London is appropriate to both to its source and costume-drama conventions.
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Harvey, Brian, James Stuart e Tony Swan. "Evaluation of a Drama-in-Education Programme to Increase AIDS Awareness in South African High Schools: A Randomized Community Intervention Trial". International Journal of STD & AIDS 11, n.º 2 (fevereiro de 2000): 105–11. http://dx.doi.org/10.1177/095646240001100207.
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A community intervention trial was undertaken in KwaZulu Natal, South Africa to evaluate the effectiveness of a high school drama-in-education programme. Seven pairs of secondary schools were randomized to receive either written information about HIV/AIDS or the drama programme. Questionnaire surveys of knowledge, attitude and behaviour were compared before and 6 months after the interventions. One thousand and eighty students participated in the first survey and 699 in the second. Improvements in knowledge ( P=0.0002) and attitudes ( P<0.00001) about HIV/AIDS were demonstrated in pupils at schools receiving the drama programme when compared to pupils receiving written information alone. These changes were independent of age, gender, school or previous sexual experience. In schools receiving the drama programme, sexually active pupils reported an increase in condom use ( P<0.01). It is important to provide resources to sustain such programmes and to obtain stronger evidence of effect on behaviour by measuring changes in HIV incidence.
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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek Tragedy". New Theatre Quarterly 28, n.º 2 (maio de 2012): 163–81. http://dx.doi.org/10.1017/s0266464x12000255.
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Chris Vervain is a mask maker who has for a number of years directed masked Greek drama. On the basis of the research she has undertaken using her own masks, in this article she considers some of the practical issues involved in a masked staging of the plays today, drawing specifically on her experience of directing the Bacchae and the Antigone. Here she extends the discussion started previously in ‘Performing Ancient Drama in Mask: the Case of Greek New Comedy’ in NTQ 79 (August 2004). Earlier, with David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001). In 2008 she completed a doctorate on masks in Greek tragedy at Royal Holloway, University of London.
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Anderson, N.-A. "Die identifikasie van generies onderskeidende strategieë in dramatiese kommunikasie: ’n interdlssiplinêre benadering". Literator 19, n.º 2 (30 de abril de 1998): 73–88. http://dx.doi.org/10.4102/lit.v19i2.523.
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The identification of generically distinctive strategies in dramatic communication: an interdisciplinary approach This article is an attempt to demonstrate the identification of text strategies that enhance dramatic function in literature, i.e. strategies that confront the receiver with alternative possibilities of choice. Consequently I investigate, among others, linguistic, judicial and philosophical discourses on explicit argumentation strategies. This investigation is undertaken in order to infer analogous drama strategies with the potential to function implicitly rather than explicitly, as the informativity of literary communication appears to be relative to the degree of the implicitness of strategies employed The strategies identified are thus explained in terms of the logic of a genre model (Strydom 1996) in order to explicate their genre character. As a first step towards testing my conclusions empirically, reading reports of specific drama texts are used.
Teses / dissertações sobre o assunto "Undertakers and undertaking – drama"
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Chow, Samson Sik Yan. "Living with the dead : is it necessarily to be so? why not NIMBY, sense of place and spatial justice : a case study of locating funeral business in Hung Hom /". View abstract or full-text, 2010. http://library.ust.hk/cgi/db/thesis.pl?SOSC%202010%20CHOW.
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Akçali, F. Özge. "Occupationism : occupational discrimination in relation to funeral directors". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26116.
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Occupationism recently has been introduced and defined as discrimination on the basis of one's occupation (Carson, 1992; Krumboltz, 1991, 1992). In this qualitative study, the existence of occupationism is investigated through the examination of the results of interviews with six funeral directors. The statements of the participants describing occupationist acts (either positive or negative) were classified into a number of categories at both fine-grained and more superordinate levels. Implications of the results for the proposed occupationism construct and suggestions for future research and career interventions are discussed.
3
Schafer, Cyril Timo, e n/a. "Post-mortem personalisation : an ethnographic study of funeral directors in New Zealand". University of Otago. Department of Anthropoplogy, 2006. http://adt.otago.ac.nz./public/adt-NZDU20070427.115528.
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This thesis examines the personalisation of Pakeha (European) post-mortem practices in New Zealand. While much of the discourse surrounding funerary and disposal processes maintains that contemporary practices demonstrate a �denial� of death and funeral director esurience, funeral directors themselves have argued that the austere Anglophone approach to death has been superseded by personalised practices. This transformation has become particularly evident in the last two decades and emphasises a historic shift to funeral services that encompass the heterogeneity of late-modern individuals. The aim of this thesis, however, is not to recapitulate funeral director rhetoric or reiterate the criticisms levelled at the industry, but to critically examine the implications and manifestations of personalisation, and explore the funeral directors� role in the provision of contemporary funeral services. In addition to archival research, this ethnographic endeavour includes in-depth interviews with funeral directors (and related occupational groups) and an extended period of participant observation. The theoretical issues explored in this thesis are grounded in this ethnographic data.
This study reveals that personalisation is integrally linked to constructions of grief, the pastoral role of funeral directors, and Foucault�s concept of bio-power. Funeral director participants asseverated that funeral practices had �evolved� to effect the �healthy� resolution of grief. Personalised funerals represented a re-alignment of �natural� human needs and cultural practices, and funeral director rhetoric amalgamated essentialist interpretations of grief with personalised memories and continuing bonds (Klass and Walter 2001). Funeral directors explicitly linked personalisation to secularisation, emphasising the perceived lack of �guidance� and �care� in contemporary society. Although �impersonal� religious funerals provided funeral specialists with an important point of departure, many funeral directors emphasised the pastoral dimension of contemporary funeral directing. This dimension constitutes a key component of the funeral directors� role and permeated all facets of funeral service - particularly the increasing range of after-care funeral options.
Although the funeral director rhetoric emphasises the democratisation of funeral practices and the primacy of individuality, an examination of the discourse reveals that this personalisation also demonstrates the normalising technologies integral to Foucault�s concept of �pastoral power�. I argue that funeral directors play a significant role in articulating the boundaries of �appropriate� funeral behaviour by accentuating the importance of �authenticity�, �dignity� and �healthy grief�. These concepts underline the expertise of funeral directors, define the acceptable parameters of post-mortem practices, and reify the integral involvement of funeral directors in the construction process. The specific subjectivity promoted by funeral directors constitute individuals that are not only �honest� and �real�, but recognise the �need� for a funeral service, emotional expression, and memorialisation. These individuals similarly realise the importance of integrating the deceased into their own biographies, while acknowledging the significance of guidance and control. This subjectivity clearly legitimises the role of the contemporary New Zealand funeral director. This thesis illustrates, therefore, that funeral directors play a salient role in articulating bio-power within New Zealand society, and that this endeavour is integrally linked to the occupations� continuing pursuit of professional identity.
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Rugg, Julie. "The rise of cemetery companies in Britain, 1820-53". Thesis, University of Stirling, 1992. http://hdl.handle.net/1893/2017.
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Cemetery companies were the principal agency of the transition from a traditional reliance on graveyards to the use of modern extra-mural cemeteries. The thesis comprises a study of the 113 cemetery companies established from 1820 to 1853, a period which saw the origin of this type of enterprise and its spreading throughout Britain. The companies are not analysed as economic entities, but rather as representations of a range of attitudes towards the problems associated with intramural interment. To facilitate discerning different trends relating to the public perceptions of the burial problem, the companies have been classified according to type. This is an exercise which relies on textual analysis of company documents to understand the principal motivation of each group of directors. Three different types of company are examined in the thesis. Directors of enterprises within the first group to emerge saw the burial problem as a religious-political issue, and used cemetery companies as a means of providing extended space for burial which was independent of the Established Church. The new cemeteries had unconsecrated ground, and offered the freedom for Dissenters to adopt any burial service they wished. The increased enthusiasm for all joint-stock enterprise in the mid-1830s saw the advent of the speculative cemetery company, which saw in the burial issue the potential to make profits in one of three ways: by tapping a specific territorial market, a particular class market, or by buying and selling the scrip of grand and impractical necropolitan schemes. A third type of company dominated the 1840s, and its main concern was the provision of extra-mural cemeteries as a sanitary measure. In addition to studies of these three groups of companies, the thesis presents analysis of two additional themes essential to the progress of burial reform: fears concerning the integrity of the corpse; and the cultural significance thought to attach to cemetery foundation. The thesis demonstrates, by studying these companies, that the reasons for taking action to found cemetery companies could vary considerably, and that perception of the burial issue altered a number of times.
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Muniz, Jeremy P. "Dueling with death Christian funeral preaching as dialogue /". Theological Research Exchange Network (TREN), 2009.
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Sievert, Sheree L. "Preserving bodies, preserving buildings : funeral homes in east-central Indiana". Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133728.
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Traditionally, funeral homes have been family-owned small businesses which pride themselves on their personal, caring service. Many are located in historic houses worthy of preservation. In the past few decades, however, many family-owned funeral homes have been bought out by large, national corporations in search of big profits. The future of oldhouse funeral homes is uncertain. An inventory of funeral homes was conducted in a ninecounty area of east-central Indiana, including Blackford, Delaware, Grant, Hancock, Henry, Jay, Madison, Randolph, and Wayne Counties. Findings show that a majority (59%) of the funeral homes in the nine-county area of east-central Indiana inventoried are located in former residences built before 1950, with varying degree of modification. While some have had minimal or moderate alterations, a large percentage (54%) of these have been extensively altered over the years. Case studies of four pre-1950 funeral homes in the inventory area revealed that alterations, many of which reflect the needs of the funeral business, have affected not only their integrity but also their ratings in the Indiana Historic Sites and Structures Inventory. Recommendations include greater communication between the funeral industry and preservationists, and the establishment of guidelines for sensitive additions that are addressed specifically to the needs of the funeral industry.Department of Architecture
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Bourgeois, Roy. "La commercialisation de la mort à Moncton, 1856-1914". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ47557.pdf.
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"Entering the new age of death care--: what else can a funeral home offer?" 1998. http://library.cuhk.edu.hk/record=b5889403.
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by Cheung Chi-Wing, Julian, Lo Chi-Yun.Thesis (M.B.A.)--Chinese University of Hong Kong, 1998.
Includes bibliographical references (leaves 54-56).
ABSTRACT --- p.ii
TABLE OF CONTENTS --- p.iv
LIST OF ILLUSTRATIONS --- p.vi
ACKNOWLEDGEMENTS --- p.vii
Chapter
Chapter I. --- INTRODUCTION --- p.1
Terminology --- p.2
Scope of the Study --- p.4
Literature Review --- p.5
Methodology --- p.6
Chapter II. --- CONSUMER ANALYSIS --- p.8
Who will be the Customers --- p.8
Death Care Goods and Services: A High Involvement Purchase --- p.9
Complex Decision Making Process --- p.10
Two Underlying Factors Affecting the Chinese in Purchasing Decision of Death Care Services --- p.12
Confucian Values --- p.12
"Superstition and""Feng Shui""" --- p.13
Four Main Types of Consumer --- p.16
Chapter III. --- ANALYSIS OF DEATH CARE INDUSTRY --- p.19
Death Care Products (Goods and Services) in Hong Kong --- p.19
Existing Players --- p.22
Current Practices of Industry Players --- p.23
Demand for Death Care Goods and Services --- p.25
Analysis of the Performance of Funeral Homes of Hong Kong --- p.26
The Perception of Death Care Providers --- p.29
Deficiency in Existing Service --- p.31
Chapter IV. --- PROPOSAL FOR INTRODUCING FREE GRIEF COUNSELING SERVICE IN FUNERAL HOMES --- p.34
Bereavement Counseling in Hong Kong --- p.34
The Jessie and Thomas Tam Centre --- p.34
The Market Potential of the Service --- p.36
Problems and Constraints of the Centre --- p.37
Reasons behind Our Proposal --- p.37
Contents of the Proposal --- p.39
Setting up a Grief Counseling Division --- p.39
Enhancing Communications with Other Bereavement Counseling Service Providers --- p.41
Promotion of the Service --- p.42
Actual Delivery of the Service --- p.42
Pros and Cons for Funeral Homes as Counseling Service Providers --- p.44
Chapter V. --- CONCLUSION --- p.48
APPENDIX --- p.50
BIBLIOGRAPHY --- p.54
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Nel, Elsie Petronella. "Stories of life and death: undertakers' perspectives". Diss., 2002. http://hdl.handle.net/10500/610.
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Like death, the defining human reality underlying our relationships and views of life's
meaning, the experiences and activities of undertakers, remains an uncommon
subject for psychological research. Existential anxiety roots a society-wide denial of
the fundamental nature of death. which necessitates the development of institutions
to take responsibility for the dying and dead. As the image and service of the
stigmatised funeral industry improves, society's experience of death should become
more meaningful. The overview of the research into these topics noted the need for
further studies.
Within a holistic, ecosystemic epistemology, this study adopted a qualitative
approach and case study method, which provided descriptions of the ecology,
contexts, and relationships characteristic .of the undertaker's vocation by focussing
on patterned expressions of views and attitudes. The aim was to gain insight into
the undertaker's experience of the many faces of death, with a genuine interest and
deep respect for their world.Psychology
M.A. (Clinical Psychology)
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Milandri, Laura Elise. "Bridging death: grief and liminality in the Johannesburg mortuary". Thesis, 2017. http://hdl.handle.net/10539/23029.
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Thesis is submitted in partial fulfilment for the degree of Master of Architecture (Professional) to the Faculty of Engineering and the Built Environment, School of Architecture and Planning at the University of the Witwatersrand, Johannesburg, 2017Every society must accommodate death. For this reason, the mortuary provides a vital service in the twenty-first century city, as it caters for the effects of unexpected death on individuals and society. In Johannesburg, South Africa, the city’s main mortuary currently functions in outdated and insufficient facilities, even though this urban centre has one of the highest death rates on the continent. An exploration of the Johannesburg Mortuary’s physical context and urban history reveals that this area remains fundamental to Johannesburg City’s health infrastructure and understanding of unnatural death. In addition, a theory study explores the influential ideas surrounding the mortuary typology at large. Here, three aspects are considered: the institutional role, the emotional role, and the spiritual role of the mortuary. Although the important medical and legal needs of state are acknowledged, this paper argues that the mortuary must also cater for the emotions of mourners and mortuary employees. In addition, the mortuary must seek to address death’s spiritual significance through an architectural expression of “liminality,” a concept that represents the transitional moment of death. Equipped with an understanding of the Johannesburg Mortuary’s physical, historic and theoretical contexts, this paper pursues an architectural response. The project’s final design represents the findings of this paper’s theory investigation, as applied to the chosen study site in Braamfontein, Johannesburg. Instead of perceiving the mortuary as an institutional barrier, the mortuary is designed as a bridge; the living are linked to the dead while they are held in a state of transition.
GR2017
Livros sobre o assunto "Undertakers and undertaking – drama"
1
Morton, Carlos. Pancho Diablo. Studio City, CA: Players Press, 1993.
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Association, Funeral Ethics, ed. Undertaking ethics: The ethics case program. [Springfield, IL]: The Association, 1994.
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United States. Congress. Senate. Special Committee on Aging. Funerals, burials, and consumers: Forum before the Special Committee on Aging, United States Senate, One Hundred Sixth Congress, first session, Clinton, IA, and Cedar Rapids, IA, December 14, 1999. Washington: U.S. G.P.O., 2000.
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McCormick, Mac. Days of death nights of service. Fort Wayne, Indiana: JARMAC Pub., 2001.
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Harris, Gary T. Long range plan of the NJSFDA: Ensuring a heritage of care through the provision of continuing education and "knowledge based" services. Manasquan, NJ: New Jersey State Funeral Directors Association, 2004.
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Professional Training Schools (Dallas, Tex.), ed. Mortuary administration and funeral management. 2a ed. Dallas, Tex: Professional Training Schools, Inc., 1994.
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Nadle, June Knights. Mortician diaries: The dead-honest truth from a life spent with death. Makawao, Maui, HI: Inner Ocean Publishing, 2006.
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Alberta. Funeral Services Working Committee. Report of the Funeral Services Working Committee on funeral services businesses. [Edmonton, Alta: The Committee, 1991.
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Professional Training Schools (Dallas, Tex.), ed. Mortuary administration and funeral management. Dallas, Tex. (409 N. Zang, Dallas 75208): Professional Training Schools, 1986.
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Ellenberg, William. Death: Through the eyes of a funeral director. Douglasville, GA: Anneewakee River Press, 1997.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Undertakers and undertaking – drama"
1
Fleer, Marilyn, Glykeria Fragkiadaki, Elin Eriksen Ødegaard, Prabhat Rai e Alicja Sadownik. "Closing Remarks on Innovations and Theorisations of an Educational Experiment". In Cultural-historical Digital Methodology in Early Childhood Settings, 297–302. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-59785-5_25.
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AbstractThis chapter concludes our book—a book dedicated to the theorisation of an educational experiment but does so in relation to digital methods. The methods presented across the chapters on this book foreground the many ways an educational experiment can be undertaken. The methods are all in response to the societal and global conditions of a global pandemic. Theorised methods bring forward a system of concepts that enable a digital educational experiment to proceed under conditions of crisis, contradiction, and drama. Hedegaard’s writings on an educational experiment, and the new methods presented across the book and discussed in this chapter, bring closure for the concepts of motives and demands in relation to digital environments and interactions, where time, space, and physicality are virtually defined and enabled. Key points for meeting future challenges, dramas, and crises with digital agility are foregrounded in this chapter.
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Fleer, Marilyn, Glykeria Fragkiadaki, Elin Eriksen Ødegaard, Prabhat Rai e Alicja Sadownik. "Theoretical Framing of a Digital Education Experiment". In Cultural-historical Digital Methodology in Early Childhood Settings, 23–38. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-59785-5_2.
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AbstractAn educational experiment as a method was originally theorised as the study of a theoretical problem in practice in a context of a collaboration between researchers and teachers. But when teachers and researchers are not able to be physically together because of government guidelines restricting access, suspending research in schools and centres, or by reducing movement of a population through ‘lock down’, then how can an educational experiment be undertaken? The richness of the concrete research methods that follow are theorised through bringing together a system of concepts that enable a digital educational experiment to proceed under conditions of crisis, contradiction, and drama. Named as a digital educational experiment, the theorised model draws on Vygotsky’s original core conception of development, Hedegaard’s writings on an educational experiment, and the new methods presented in Sect. 2.1. It builds on the concepts of motives and demands in relation to digital environments and interactions, where time, space, and physicality are virtually defined and enabled.
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"Chapter 8: Participatory Action Research". In The Reflexive Teaching Artist: Collected Wisdom from the Drama/Theatre Field, 255–73. Intellect, 2014. http://dx.doi.org/10.1386/9781783202232_11.
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Teaching Artists often work alone, with limited time and support structures to conduct formal assessments of their work. However, as discussed in Chapter 6, assessment can be used by any practitioner at multiple times in their process. All Teaching Artists have their own living laboratory for participatory action research: “an enquiry by the self into the self, undertaken in company with others acting as research participants and critical learning partners” (McNiff and Whitehead 2002: 15).
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Weiss, Piero. "Wagner’s Theory Of Drama". In Opera, 201–11. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0033.
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Abstract It was in the period following his participation in the Dresden uprising (May 1849) and subsequent flight to Switzerland that Wagner wrote his first books of operatic theory: Art and Revolution (1849), The Art Work of the Future (1850), and Opera and Drama (1852). His composing was at a standstill; his latest opera, Lohengrin, completed in 1848, was performed in his absence in 1850. But already in Dresden he had begun work on what was to become the major undertaking of his life, the vast Ring of the Nibelung cycle; so far he had only written the text of the last of the four dramas, Cotterdammerung (initially Siegfrieds Tod, later much revised), and twenty-six years were to pass before he would complete the whole cycle. But this, and the other three great works that lay ahead-Tristan und Isolde (1859), Die Meistersinger (1867), Parsifal (1882)-were no longer to be cast in the mold of traditional opera.
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Chazan, Robert. "Late Antiquity". In Refugees or Migrants, 123–41. Yale University Press, 2019. http://dx.doi.org/10.12987/yale/9780300218572.003.0006.
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This chapter considers Jewish population movement from late antiquity through the end of the eighteenth century, with a focus on often-neglected voluntary Jewish relocation; it offers a balanced assessment of the proportional relationship between compulsory displacement of Jews and voluntary relocation. It argues that the forced displacement of Jews should not obscure an alternative reality, clearly and regularly documented in past Jewish experience. Jews also relocated voluntarily, enticed by appealing opportunities and often encouraged by ruling authorities eager to attract them as new and useful settlers. These relocations were arduous but positive experiences, undertaken in search of better circumstances and often resulting in radically improved conditions. Since such voluntary migrations were not at all predicted in Scripture and lacked eye-catching drama, they have tended to be overlooked.
6
Klees, Christian, e Christoph Kugelmeier. "Von der Rezitation auf die Bühne. Ein übersetzungstheoretischer Werkstattbericht zu zeitgenössischen deutschen Theaterversionen von Senecas Tragödien". In zeta-textperformances, 303–23. Zeta Books, 2021. http://dx.doi.org/10.5840/202115.
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Seneca’s dramas brood in the shadows of the Attic tragedies, which are frequently played in theatres all over the world. To this day, it is controversial whether Seneca’s plays were intended for the stage or only for recitation. But the enormous after-effect of these texts in the literature devoted to European theatre (above all in Shakespeare) shows that they themselves are not only part of our cultural heritage, but that it is worthwhile to consider how one might propose a more contemporary staging of these works in order to afford an authentic reception for the first time – and indeed, for a broader public. Admittedly, the texts can and will only find a larger audience if Seneca’s recitation dramas are brought to the contemporary stage in a form and language appropriate to this audience. In a project undertaken by Saarbrücken Classical Philology since 2011, for the first time directly playable German translations are to be produced for this purpose. These take into account the dramaturgical peculiarities of the plays by negotiating between philological considerations and the requirements of performance itself. At the same time, philologically flawless translations of the Latin text into German emerge as the crux of the matter. The present essay will discuss this multiplex process of translation on the basis of an example already tested in a stage performance and in the light of various theories of translation
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Munt, Sally R. "A Queer Undertaking: Uncanny Attachments in the HBO Television Drama Series Six Feet Under". In Queer Attachments, 161–79. Routledge, 2017. http://dx.doi.org/10.4324/9781315245478-7.
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Foley, Helene P. "Antigone as Moral Agent". In Tragedy and the Tragic, 49–73. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198149514.003.0005.
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Abstract In the Poetics, Aristotle defines tragic character in relation to tragic choice. In drama, character, Aristotle argues, reveals a prohairesis or a process of undertaking moral commitment in which a person chooses to act or to abstain from action in circumstances where the choice is not obvious (Poetics 145Ob8—10). What I would like to begin to explore in this paper is the representation of the making and enacting of difficult moral choices—if not necessarily difficult choices in precisely the Aristotelian sense—by female characters in Greek tragedy, and to examine the complex interrelation between female moral capacity and female social role that conditions, and is articulated in, such choices.
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Kildea, Paul. "Mapreading (1969)". In Britten on Music, 321–29. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0096.
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Abstract MITCHELL: Earlier this year you were heavily engaged in the television production of Peter Grimes. I know it was a great physical strain for you, because it must have been an enormous undertaking. But I think you were impressed and intrigued-were you not?-by all the possibilities of putting one of your major operas on television?BRITTEN: It was a very great experience. It was, as you say, also rather alarming and tiring, simply because the handling of this enormous force of performers, and also of course fitting in with the wishes of the cameramen and the producers and directors, was something that I had never tried before. It was a much bigger enterprise than I had imagined I could ever try. But actually the people I was working with were so musical and understood the musical side of the work so well that my task was made much easier.MITCHELL: Do you think, Ben, as a result of this experience with televisionwhich took place, almost literally, on your own doorstep-that television opera has got a great future? That the possibilities for opera on television are really very considerable?BRITTEN: I think the answer is a definite ‘yes’ for that, but I think there are one or two lessons that one must learn before really committing opera to television; and ifl can be slightly technical for a moment I would like to say what they are, these lessons. One is that I am sure the opera must have a musical intensity on television: it must not get broken up into a vehicle for the cameras only. I have seen quite a few television versions of operas, and I think the danger can easily come that they are made, if I may say so, too reasonable, too realistic. And then one asks-I am sure the audience, the non-operatic audience, asks itself-why in the blazes people are singing and not speaking. You have got to keep this knife-edged balance between the photograph, the picture, which of course in a television medium must be rather realistic, it has that realistic impact on one, and also the musical excitement.And I think what I have learnt from the television [production] of Peter Grimes is that the drive forward of the music, the singing of the tunes, the elaboration of the ensembles, must never be forgotten. If you do, you get a kind of misfire, which is neither straight drama nor good opera. And that is the sort of thing that I’ve learnt and I’m trying to put into practice in this opera I’m now writing for television.
Trabalhos de conferências sobre o assunto "Undertakers and undertaking – drama"
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Cenusa, Felicia. "Vladimir Beșleagă or about internal exile". In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.13.
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If in Romania, during the communist period, one can speak of a literature of external exile and dissidence, then the concept of internal exile can be applied to the literature of Bessarabia, from the same period. Thus, some writers took refuge, in the happiest cases, in the professions of the book, especially in translations, others – in essayistic, parabolic, experimental or diary writings. They were all approached as forms of internal exile, undertaken by writers, thus risking that their works would not be published. Internal exile, most of the time, produced psychoses, neuroses, humiliations similar in amplitude to the drama characteristic of external exile. Namely, these manifestations of internal exile are reflected, for the most part, in the writings of Vladimir Beșleăgă, which constitute the research object of the present study.