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Автор: Grafiati
Опубліковано: 18 травня 2024

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Статті в журналах з теми "English dramatist"

1

Gill, R. "A New Dramatist." English 34, no. 150 (September 1, 1985): 256–59. http://dx.doi.org/10.1093/english/34.150.256.

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2

Harrison, Tom. "Shakespeare, Court Dramatist. By Richard Dutton." English: Journal of the English Association 65, no. 251 (2016): 390–92. http://dx.doi.org/10.1093/english/efw053.

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3

Prośniak, Anna. "“Sardoodledom” on the English Stage: T. W. Robertson and the Assimilation of Well-Made Play into the English Theatre." Text Matters, no. 10 (November 24, 2020): 446–59. http://dx.doi.org/10.18778/2083-2931.10.25.

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The article discusses a vital figure in the development of modern English theatre, Thomas William Robertson, in the context of his borrowings, inspirations, translations and adaptations of the French dramatic formula pièce bien faite (well-made play). The paper gives the definition and enumerates features of the formula created with great success by the French dramatist Eugène Scribe. Presenting the figure of Thomas William Robertson, the father of theatre management and realism in Victorian theatre, the focus is placed on his adaptations of French plays and his incorporation of the formula of the well-made play and its conventional dramatic devices into his original, and most successful, plays, Society and Caste. The paper also examines the critical response to the well-made play in England and dramatists who use its formula, especially from the point of view of George Bernard Shaw, who famously called the French plays of Scribe and Victorien Sardou—“Sardoodledom.”
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4

Delisle, Jeanne-Mance, Yves Saint-Piene, Leatiote Lieblein, and Harry Standjofski. "A Live Bird in Its Jaws, Urban Myths: Anton & No Cycle." Canadian Theatre Review 77 (December 1993): 87. http://dx.doi.org/10.3138/ctr.77.019.

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The dramatic work of Jeanne-Mance Delisle deserves to be known by an English-speaking public. Regrettably, Un réel ben beau ben triste (1981), the work on which her reputation as a dramatist was built, remains untranslated. Thus Yves Saint-Pierre’s able rendering of the play for which she received the Governor General’s Award for drama in 1987 is all the more welcome.
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5

Mohsin Hadi Al-Hajmee, Ali Abdul. "Ben Jonson, Literary Style, and Presents Most Famous Plays." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, no. 02 (2023): 479–84. http://dx.doi.org/10.37648/ijrssh.v13i02.038.

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Drama has always fascinated audiences. Audiences have been captivated by dramatic presentations of the plights of others since antiquity, which not only satisfies their natural curiosity but also provides a platform from which dramatists can tackle pressing issues of the day and present them in a manner that is both easily understood and literately accessible. Many of Ben Jonson's plays, like Volpone, or The Fox (1606) and The Alchemist (1610), are caustic condemnations of prevailing societal norms. The famed British poet and dramatist Ben Jonson was born in London on 11 June 1572. His father, who was a priest, died just a month before his birth, and his mother promptly remarried again master bricklayer Robert Brett. After getting a classical education at school, Ben Jonson rose from an apprentice bricklayer and soldier to become one of the most acclaimed playwrights and poets of the 17th century. As a writer, he had a troubled beginning, having spent time in prison for writing a controversial play and then murdered another actor shortly after his release. Jonson was a contentious figure due to the extent to which he satirised the English upper classes as he grew in stature. Although he never entirely reconciled himself to English authority, his talent as a dramatist and courtier earned him a pension from King James I and, in effect, the position of unofficial Poet Laureate of England. He brought to the fore the comedy of humor. The current study aims to study the English Playwright Ben Johnson, commenting on his literary style, and presents his most famous plays Volpone, or The Fox (1606) and The Alchemist (1610). The research paper falls into introduction, two sections, and a conclusion which sums the whole findings.
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6

Singh, Dr Pramod Kumar. "Mahesh Dattani’s “Do the Needful”: An Unconventional Romantic Comedy." SMART MOVES JOURNAL IJELLH 8, no. 10 (October 29, 2020): 74–81. http://dx.doi.org/10.24113/ijellh.v8i10.10802.

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Mahesh Dattani is a contemporary Indian English Dramatist who gave voice to the 60 million English speakers of India through his drama. He is the first dramatist recognised for his contribution in this field. Through his plays, he raises the problems of eunuch, homosexuality, transgender, child- sexual abuse, gender-discrimination, thought towards HIV-infected people etc. To such issues, he called them ‘fringe issue’ to whom we face but never take it as a part of society. Through ‘Do the Needful’ Mahesh Dattani has presented the problems of male homosexuality. The play was broadcasted by BBC. The play ‘Do the Needful’ is actually an unconventional romantic comedy.
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7

Kardiansyah, M. Yuseano. "English Drama in the Late of Victorian Period (1880-1901): Realism in Drama Genre Revival." TEKNOSASTIK 15, no. 2 (October 18, 2019): 64. http://dx.doi.org/10.33365/ts.v15i2.100.

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A progressive growth in literature was seen significantly during Victorian period. These decades also saw an overdue revival of drama, in which the existence of drama was started to improve when entering late of Victorian period. Along with that situation, Thomas William Robertson (1829-1871) emerged as a popular drama writer at that time besides the coming of Henrik Ibsen’s works in 1880’s. However, Robertson’s popularity was defeated by other dramatists during late of Victorian period (1880-1901), drama writer like Oscar Wilde (1854-1900). Beside Wilde, there were several well known dramatists during late of Victorian period. Dramatists as Shaw, Jones, and Pinero were also influential toward the development of drama at that time. In the discussion of English drama development, role of late Victorian period’s dramatists was really important toward the development of modern drama. Their works and efforts really influenced the triumph of realism and development of drama after Victorian period ended. Therefore, the development of drama during late of Victorian period is discussed in this particular writing, due to the important roles of dramatist such as Wilde, Shaw, Pinero, and Jones. Here, their roles to the revival of English drama and the trend of realism in the history of English literature are very important.
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8

Moran, James. "Kate O'Brien in the Theatre." Irish University Review 48, no. 1 (May 2018): 7–22. http://dx.doi.org/10.3366/iur.2018.0326.

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Kate O'Brien initially made her literary reputation as a dramatist rather than a novelist. Her debut play Distinguished Villa (1926) won acclaim in London when first produced onstage, and critics compared her with Seán O'Casey. However, O'Brien's dramatic work manifests some key differences to O'Casey, not least O'Brien's recurring concern with the behavioural norms and sexual predilections of the English middle-classes, and her early awareness of the requirements of the British censor. Although O'Brien is remembered as a figure who transgressed the censorship rules of the Irish government, it was the British system of censorship she first had to navigate.
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9

McGuinness, Frank. "Saint Behan." Irish University Review 44, no. 1 (May 2014): 78–91. http://dx.doi.org/10.3366/iur.2014.0104.

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This essay examines Brendan Behan's evolution as a dramatist, linking him to the tradition of O'Casey's urban theatre, particularly Juno and the Paycock, and emphasising his closeness to the experimental drama of his near contemporary, Samuel Beckett. It details how subversively Behan used both music and the Gaelic language in sexualizing the story of The Quare Fellow, how he censors such radical departures in An Giall, and how The Hostage in its wild exuberance restores Behan to the status of a most dangerously liberated dramatist. Finally it looks at the influence of Behan on his most significant follower, the openly queer English playwright, Joe Orton.
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D. Mapari, Ms Dimple, and Shankarlal Khandelwal. "Performative Aspects of Mahesh Dattani’s Plays." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 231–37. http://dx.doi.org/10.22161/ijels.74.33.

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Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after independence, as, many Indians entered the fray and theatre slowly became open for common people too. The post-independence Indian English drama is notable for a wide range of subjects treated, issues presented and also it takes into its compass some globally appealing issues. It displays a remarkable growth and maturity. Mahesh Dattani is a dynamic dramatist, a professional Baratnatyam dancer, a drama teacher, a stage director, and an actor. A person, who has touched almost every aspect of the theatre and has received the first ‘SahityaAkadami Award’ (1998) for writing in English, he is rightly called the successor of Girish Karnad for his innovations in dialogue writing, pragmatic stage decorations, light arrangements, etc. One of his major contributions is that he has infused actability into Indian drama in English. It seems that, all the limitations, which in a way marred the beauty of Indian English theatre down the decades, are finally overcome. As Reena Mitra observes, ‘Dattani confidently challenges the traditional denotations and connotations of the words’ India’ and ‘Indians’.1 What makes his plays ‘performance oriented’ are his dramatic techniques. The paper intends to focus upon the aspects which make his drama stand out.
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Дисертації з теми "English dramatist"

1

Chakraborty, Subhas Chandra. "The Art of Arnold Wesker the English dramatist." Thesis, University of North Bengal, 1985. http://hdl.handle.net/123456789/1180.

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2

Gregory, Rosalyn. "Thomas Hardy as dramatist." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:db08b42f-bd9b-4886-9e4e-e84293114c9b.

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This thesis traces Hardy's involvement in the theatre from the 1880s to the 1920s. The narrative of Hardy's relationship with the theatre is set against an analysis of the changing nature of the stage during this period, though I acknowledge throughout the thesis the fact that Hardy's awareness of the theatre did not perfectly keep pace with its evolution. The aim of the thesis is to examine the motivations determining Hardy's work in the theatre in light of the fact that he seemed so dismissive of its efficacy. I trace the history of Hardy's adaptations of his work for the stage, before setting the scripts against the novels in order to weigh the extent to which the novels resist translation into a different medium – whether there is something integral to Hardy's plots that cannot be conveyed on stage. I have chosen to focus predominantly on material that made it beyond a rough sketch on a scrap of paper, on projects that reached the stage of rewritings and commercial negotiations - often years before they were produced. My selection has been determined by the belief that the material is indicative of the development of Hardy's understanding of the relationship between his work and the possibilities adaptation offered. My first chapter, on the history of an adaptation of 'Far From the Madding Crowd' in 1882, argues that Hardy's collaboration with J. Comyns Carr on the script was driven by his desire to assert his copyright over the novel's afterlife. The adaptation may never have been performed, but simply have been registered with the Lord Chamberlain as a deterrent against unauthorised adapters. It was the plagiarism row over Arthur Wing Pinero's possible theft of Hardy's plot in his popular pastoral play, 'The Squire', that pushed Hardy and Carr to stage their version. My second chapter looks at the history of Hardy's adaptations of 'Tess'. I am interested primarily in his writing of two scripts in the mid-1890s, and his negotiations with leading actresses in response to their interest in creating the part of Tess. The chapter then looks at the circumstances leading to the eventual staging of the play in the 1920s, focusing on the difficulties posed by producing a script which was by then thirty years old, and showing its age. In the third chapter I concentrate on plans to stage two novels, 'The Woodlanders' and 'Jude'. Neither was produced, but both are evidence of Hardy's increasing interest in the possibility of selecting from his material, rather than compressing it into the time available. The two adaptations allied Hardy much more closely with the avant garde than his earlier work had done – 'The Woodlanders' was begun in 1889 at the suggestion of J. T. Grein and C. W. Jarvis, two men who would later found the Independent Theatre, a private subscription society which pioneered the staging of Ibsen in England. Hardy's own sketches for adapting 'Jude' (1895, 1897, 1910, 1926) concentrated on Sue's position. I set Hardy’s realignment of 'Jude' against a focus on the place of women in unhappy marriages, drawing principally on Hardy's contribution to a debate about the role of wives in the 'New Review' for June 1894 and a 'Westminster Review' article by the feminist Mona Caird (August 1888), which provoked three months of debate (and 27,000 letters) in 'The Daily Telegraph' on the question 'Is Marriage a Failure?' Caird’s ideal dovetails with Sue's views on marriage as 'legalized prostitution' and her revulsion from 'the dreadful contract to feel in a particular way in a matter whose essence is its voluntariness!' The final chapter of the thesis looks at two adaptations of 'The Dynasts'. The first is a wartime entertainment staged by Harley Granville Barker in 1914, the second is Hardy's own adaptation for Dorset amateur actors (the Hardy Players) to perform in 1916, which concentrated on the impact of the war on the local populace. I then turn to the premiere of Hardy's only full-length drama written specifically for the stage – the one-act Arthurian play 'The Queen of Cornwall' (1923). I argue in this final chapter that Hardy was beginning to move from the role of reluctant adapter to that of director, conscious of the boundaries imposed by the stage and experimenting with how to craft his work to fit within them, rather than abridging his material indiscriminately.
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3

Slagle, Judith Bailey. "Joanna Baillie and the Poetry of Intellectual and Historical Romanticism." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/459.

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Book Summary: The Encyclopedia of Romantic Literature is an authoritative three-volume reference work that covers British artistic, literary, and intellectual movements between 1780 and 1830, within the context of European, transatlantic and colonial historical and cultural interaction. Comprises over 275 entries ranging from 1,000 to 6,500 words arranged in A-Z format across three fully cross-referenced volumes Written by an international cast of leading and emerging scholars Entries explore genre development in prose, poetry, and drama of the Romantic period, key authors and their works, and key themes Also available online as part of the Wiley-Blackwell Encyclopedia of Literature, providing 24/7 access and powerful searching, browsing and cross-referencing capabilities
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Slagle, Judith Bailey. "Joanna Baillie." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/458.

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Book Summary: Poetry Criticism assembles critical responses to the writings of the world's most renowned poets and provides supplementary biographical context and bibliographic material to guide the reader to a greater understanding of the genre and its creators. Each entry includes a set of previously published reviews, essays and other critical responses from sources that include scholarly books and journals, literary magazines, interviews, letters and diaries, carefully selected to create a representative history and cross-section of critical responses. Although poets and poetry are also covered in other titles from the Gale Literature Criticism series, Poetry Criticism offers a greater focus on understanding poetry than is possible in the broader, survey-oriented entries in those series. Clear, accessible introductory essays followed by carefully selected critical responses allow end-users to engage with a variety of scholarly views and conversations about poets and their works. Student's writing papers or class presentations, instructors preparing their syllabi, or anyone seeking a deeper understanding of the genre will find this a highly useful resource.
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Slagle, Judith Bailey. "Joanna Baillie." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/457.

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Book Summary: Provides a comprehensive overview of all aspects of the poetry, drama, fiction, and literary and cultural criticism produced from the Restoration of the English monarchy to the onset of the French Revolution Comprises over 340 entries arranged in A-Z format across three fully indexed and cross-referenced volumes Written by an international team of leading and emerging scholars Features an impressive scope and range of subjects: from courtship and circulating libraries, to the works of Samuel Johnson and Sarah Scott Includes coverage of both canonical and lesser-known authors, as well as entries addressing gender, sexuality, and other topics that have previously been underrepresented in traditional scholarship Represents the most comprehensive resource available on this period, and an indispensable guide to the rich diversity of British writing that ushered in the modern literary era
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Slagle, Judith Bailey. "Joanna Baillie and the Anxiety of Shakespeare's Influence." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/719.

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Joanna Baillie, a drama critic as well as a dramatist, began during the last decade of the eighteenth century to develop her own theory of tragedy and comedy, based on human emotions, the elemental instincts that prompted Shakespeare's characters to action over two hundred years before. Baillie could not escape Shakespeare's early influence; even if she had tried, critics and colleagues regularly reminded her of her debt. While Baillie admitted her poetical debt to Ossian and to Robert Burns, her Romantic "naturalness" was indeed fresh and original. Her dramatic writing, however, followed many of the themes of Shakespeare — love, hate, revenge, jealousy, ambition — and she defended and defined her focus on such passions in her "Introductory Discourse" to A Series of Plays, whereas Shakespeare was tacit about his scheme if, in fact, he had one.
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Chapman, Patricia Ann. "Two Laureates and a Whore Debate Decorum and Delight: Dryden, Shadwell, and Behn in a Decade of Comedy A-la-Mode." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11202006-050335/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Malinda Snow, committee chair; Tanya Caldwell, Paul Schmidt, committee members. Electronic text (81 p.) : digital, PDF file. Description based on contents viewed May 8, 2007. Includes bibliographical references (p. 79-81).
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Halbert, Steven Joseph Keirstead Christopher M. ""And yet God has not said a word" the dramatic monologue as inverted and secularized prayer /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/English/Thesis/Halbert_Steven_51.pdf.

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Thesis (M.A.)--Auburn University, 2008.
Abstract. Vita. Includes pictures of the Institut Catholique de Paris, a seminary which was formerly the monastery where Brother Lawrence lived and wrote. Includes bibliographical references.
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9

Marquez, Loren Loving. "Dramatic consequences integrating performance into the writing classroom /." Fort Worth, Tex. : Texas Christian University, 2007. http://etd.tcu.edu/etdfiles/available/etd-04232007-094655/unrestricted/marquez.pdf.

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Capp, Laura. "Dramatic audition: listeners, readers, and women's dramatic monologues, 1844-1916." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3438.

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The "dramatic monologue" is curiously named, given that poems of this genre often feature characters not only listening to the speakers but responding to them. While "silent auditors," as such inscribed characters are imperfectly called, are not a universal feature of the genre, their appearance is crucial when it occurs, as it turns monologue into dialogue. The scholarly attention given to such figures has focused almost exclusively upon dramatic monologues by Robert Browning, Alfred Tennyson, and other male poets and has consequently never illustrated how gender influences the attitudes toward and outcomes of communication as they play out in dramatic monologues. My dissertation thus explores how Victorian and modernist female poets of the dramatic monologue like Elizabeth Barrett Browning, Augusta Webster, Amy Levy, and Charlotte Mew stage the relationships between the female speakers they animate and the silent auditors who listen to their desperate utterances. Given the historical tensions that surrounded any woman's speech, let alone marginalized women, the poets perform a remarkably empathetic act in embodying primarily female characters on the fringes of their social worlds--a runaway slave, a prostitute, and a modern-day Mary Magdalene, to name a few--but the dramatic monologues themselves end, overwhelmingly, in failures of communication that question the ability of dialogue to generate empathetic connections between individuals with radically different backgrounds. Silent auditors often bear the scholarly blame for such breakdowns, but I argue that the speakers reject their auditors at pivotal moments, ultimately participating in their own marginalization. The distrust these poems exhibit toward the efficacy of speaking to others, however, need not extend to the reader. Rather, the genre of the dramatic monologue offers the poets a way to sidestep dialogue altogether: by inducing the reader to inhabit the female speaker's first-person voice--the "mobile I," in Èmile Benveniste's terms--these dramatic monologues convey experience through role-play rather than speech, as speaker and reader momentarily collapse into one body and one voice. Such a move foregrounds sympathetic identification as a more powerful means of conveying experience than empathetic identification and the distance between bodies and voices it necessitates.
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Книги з теми "English dramatist"

1

O'Casey the dramatist. Gerrards Cross, Bucks: Colin Smythe, 1985.

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2

Shakespeare as literary dramatist. Cambridge, UK: Cambridge University Press, 2003.

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3

John Webster, Renaissance dramatist. Edinburgh: Edinburgh University Press, 2010.

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4

Christopher Marlowe, Renaissance dramatist. Edinburgh: Edinburgh University Press, 2008.

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5

Ben Jonson, Renaissance dramatist. Edinburgh: Edinburgh University Press, 2008.

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6

Shakespeare and the modern dramatist. Basingstoke: Macmillan, 1989.

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7

Shakespeare and the modern dramatist. New York: St. Martin's Press, 1989.

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8

W.B. Yeats: Metaphysician as dramatist. Gerrards Cross: C. Smythe, 1986.

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9

Shakespeare and the modern dramatist. Basingstoke: Macmillan Press, 1989.

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10

1959-, Crochunis Thomas C., ed. Joanna Baillie, romantic dramatist: Critical essays. London: Routledge, 2004.

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Частини книг з теми "English dramatist"

1

Dunn, Julie, and Adrianne Jones. "Dramatic approaches in the English classroom." In The Routledge Companion to Drama in Education, 310–23. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003000914-33.

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Hesse, Beatrix. "Dramatic Characters." In The English Crime Play in the Twentieth Century, 134–53. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463043_9.

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3

Bessai, Diane. "Women Dramatists: Sharon Pollock and Judith Thompson." In Post-Colonial English Drama, 97–117. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22436-4_7.

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4

Wynne-Davies, Marion. "Early Modern English Women Dramatists (1610–1690): New Perspectives." In The History of British Women’s Writing, 1610–1690, 187–203. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305502_11.

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Walkling, Andrew R. "Dramatick opera in the 1680s." In English Dramatick Opera, 1661–1706, 209–32. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-6.

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Salingar, Leo. "Elizabethan Dramatists and Italy: A Postscript." In Theatre of the English and Italian Renaissance, 221–37. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_11.

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Walkling, Andrew R. "Machine technology and diegetic supernaturalism on the English public stage, 1661–71." In English Dramatick Opera, 1661–1706, 38–81. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-2.

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8

Walkling, Andrew R. "Responses to dramatick opera, 1674–81." In English Dramatick Opera, 1661–1706, 156–208. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-5.

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9

Walkling, Andrew R. "Introduction." In English Dramatick Opera, 1661–1706, 1–37. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-1.

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10

Walkling, Andrew R. "“Spectacle-tragedy” and the shifting fortunes of the patent theatres." In English Dramatick Opera, 1661–1706, 82–116. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-3.

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Тези доповідей конференцій з теми "English dramatist"

1

Terlemezyan, Hilda. "THE EFFICIENCY OF FILMED DRAMATIC ACTIVITIES IN THE PRIMARY SCHOOL ENGLISH CLASSROOM." In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.0246.

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Khaustova, Dariya. "IN THE SHADOW OF GENIUS. PLAYS OF ENGLISH RENAISSANCE DRAMATISTS: TO WHOM WRITTEN, TO WHOM PERFORMED NOW." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.039.

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3

Макарова, Е. А. "THE FATE AND ACTIVITIES OF ELIZABETH INCHBALD (1753–1821): IN THE CIRCLE OF ENGLISH RADICALS." In Конференция памяти профессора С.Б. Семёнова ИССЛЕДОВАНИЯ ЗАРУБЕЖНОЙ ИСТОРИИ. Crossref, 2021. http://dx.doi.org/10.55000/mcu.2021.44.42.015.

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Статья посвящена практически не изученной в отечественной историографии фигуре – ак-трисе, писательнице, драматургу и литературному критику Элизабет Инчбальд (1753–1821), кото-рая в 1790-е годы XVIII века, когда во Франции разыгрывались драматические события револю-ции, входила в тесный круг английских политических радикалов, к которому принадлежали Уильям Годвин, Томас Холкрофт и другие, и в своих произведениях отразила политический дис-курс эпохи. The article is devoted to an almost unknown figure in Russian historiography – the actress, writer, playwright and literary critic Elizabeth Inchbald, who in the 1790s of the XVIIIth century, when the dramatic events of the revolution were played out in France, was part of a close circle of English political radicals, to which William Godwin, Thomas Holcroft and others belonged, and in her works reflected the political discourse of the epoch.
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4

Lansari, Azzedine, Abdallah Tubaishat, and Akram Al-Rawi. "Using an Outcome-Based Information Technology Curriculum and an E-Learning Platform to Facilitate Student Learning." In InSITE 2007: Informing Science + IT Education Conference. Informing Science Institute, 2007. http://dx.doi.org/10.28945/3122.

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A recently established university in the United Arab Emirates has shifted from an input-based teaching model to an outcome-based learning model. The outcome based academic model is new in the Gulf region and is designed to allow students and faculty members to work together to foster learning. This model is a dramatic departure from the traditional input model where students in the Gulf have learned to mainly accept and retain information. Using the university’s learning outcomes model, the College of Information Technology (CIT) has identified five learning outcomes and used them to develop its curriculum. All learning outcomes are integrated into all CIT courses. All students own a laptop and have wired and wireless access to various university resources such as the library, Blackboard, IT labs and the Internet. Currently, the CIT is moving to a web-based learning environment. Under this environment, the outcome-based academic model requires faculty members to shift their efforts from teaching or lecturing to facilitating student learning. CIT faculty are reshaping their course contents and refocusing their courses to clearly show all the steps needed to learn various concepts and skills as well as how students can achieve a particular learning outcome. This study proposes an outcome-based IT curriculum for delivery in an e-learning environment. Such an environment is ideal for female students who prefer to have limited interaction with male faculty and who typically need more time to understand IT concepts in English. It is anticipated that this e-learning environment will facilitate the delivery of course content and also improve the discussion and communication between students and faculty.
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5

Catelly, Yolandamirela. "INNOVATIVE TECHNOLOGY IN THE LANGUAGE CLASS-LEARNING BY LAUGHING, WITH MEMES UNDER FOCUS." In eLSE 2019. Carol I National Defence University Publishing House, 2019. http://dx.doi.org/10.12753/2066-026x-19-074.

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In the contemporary society worldwide, with a dramatic change of mentality among the young generations, particularly starting from the so-called Millennials, amendments to the traditional approaches and new innovative forms of education to be designed and implemented stand as the real challenge for the teachers of any discipline, in order to provide solid support to the learners, thus contributing to their courses efficiency and to the trainees' learning success. At the trainer's disposal there are today a plethora of e-learning means, with proven impact in augmenting effectiveness of the instructional process at all levels. Therefore, in the educational setting presented here, viz. engineering students reading Computer Science at bachelor level, with English as the medium of tuition, within the English for Science and Technology - EST course, the foreign language teacher, in search for variety, novelty and successful exploitation of humour and creativity in the language class, on the basis of some new and quite popular IT 'tools', has designed and taught a cycle of activities focusing on image macros, more generically labelled as memes. Thus, the paper is meant as a strong plea for encouraging learning by setting creativity, fun and avoidance of monotony elements in the lesson. Moreover, the linguistic aspects, as well as those culture-related, are also of significance, since, in order to create memes, besides the technical skills which are compulsory, one really needs a substantial array of softer skills, such as good command of the target language, sensitivity regarding cultural differences and, last but certainly not least, a great sense of humour. Hence, the approach proposed here hypothesises that, by embedding a cycle of tasks focused on designing and discussing about such a new and popular form of social media, having multiple functions and often becoming a viral vehicle for communication, of the marketing type for instance, or for spreading opinions among the masses, the repertory of (transferable) hard and soft skills alike of the students/would-be engineers will develop, together with their chances of employability on an ever more demanding job market (inter)nationally. Consequently, the aim of the paper is a multiple one, i.e. to: (i) encourage the students to make use of their technical skills in IT, but in an original manner - by creating memes, necessarily combining them with the linguistic and even creative writing skills, which could turn into a real asset for them as future specialists, required to advertise for the products they manufacture or to socialize in professional environments; (ii) design authentic tasks that are different from the usual, sometimes repetitive, ones the learners are used to, as such activities are based, apart from the learners' technical knowledge, on the intelligent thought-provoking and laughter-generating use of the foreign language. The eclectic, communicative core approach task package is described, and the pedagogic rationale is given for the manner of sequencing them.
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6

Clement, Victoria. "TURKMENISTAN’S NEW CHALLENGES: CAN STABILITY CO-EXIST WITH REFORM? A STUDY OF GULEN SCHOOLS IN CENTRAL ASIA, 1997-2007." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/ufen2635.

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In the 1990s, Turkmenistan’s government dismantled Soviet educational provision, replacing it with lower quality schooling. The Başkent Foundation schools represent the concerted ef- forts of teachers and sponsors to offer socially conscious education grounded in science and math with an international focus. This case study of the Başkent Foundation schools in Turkmenistan establishes the vitality of Gülen schools outside of the Turkish Republic and their key role in offering Central Asian families an important choice in secular, general education. The paper discusses the appeal of the schools’ curriculum to parents and students, and records a decade-long success both in educating students and in laying the foundations of civil society: in Turkmenistan the Gülen movement offers the only general education outside of state provision and control. This is particularly significant as most scholars deny that there is any semblance of civil society in Turkmenistan. Notes: The author has been conducting interviews and recording the influence of Başkent schools in Turkmenistan since working as Instructor at the International Turkmen-Turk University in 1997. In May 2007 she visited the schools in the capital Ashgabat, and the northern province of Daşoguz, to explore further the contribution Gülen schools are making. The recent death of Turkmenistan’s president will most likely result in major reforms in education. Documentation of how a shift at the centre of state power affects provincial Gülen schools will enrich this conference’s broader discussion of the movement’s social impact. The history of Gülen-inspired schools in Central Asia reveals as much about the Gülen movement as it does about transition in the Muslim world. While acknowledging that transition in the 21st century includes new political and global considerations, it must be viewed in a historical context that illustrates how change, renewal and questioning are longstanding in- herent to Islamic tradition. In the former Soviet Union, the Gülen movement contributed to the Muslim people’s transi- tion out of the communist experience. Since USSR fell in 1991, participants in Fethullah Gülen’s spiritual movement have contributed to its mission by successfully building schools, offering English language courses for adults, and consciously supporting nascent civil so- ciety throughout Eurasia. Not only in Turkic speaking regions, but also as far as Mongolia and Southeast Asia, the so-called “Turkish schools” have succeeded in creating sustainable systems of private schools that offer quality education to ethnically and religiously diverse populations. The model is applicable on the whole; Gülen’s movement has played a vital role in offering Eurasia’s youth an alternative to state-sponsored schooling. Recognition of the broad accomplishments of Gülen schools in Eurasia raises questions about how these schools function on a daily basis and how they have remained successful. What kind of world are they preparing students for? How do the schools differ from traditional Muslim schools (maktabs or madrasas)? Do they offer an alternative to Arab methods of learning? Success in Turkmenistan is especially notable due to the dramatic politicization of education under nationalistic socio-cultural programmes in that Central Asian country. Since the establishment of the first boarding school, named after Turkish Prime Minister Turgut Ozal, in 1991 the Gülen schools have prospered despite Turkmenistan’s extreme political conditions and severely weakened social systems. How did this network of foreign schools, connected to a faith-based movement, manage to flourish under Turkmenistan’s capricious dictator- ship? In essence, Gülen-inspired schools have been consistently successful in Turkmenistan because a secular curriculum partnered with a strong moral framework appeals to parents and students without threatening the state. This hypothesis encourages further consideration of the cemaat’s ethos and Gülen’s philosophies such as the imperative of activism (aksiyon), the compatibility of Islam and modernity, and the high value Islamic traditions assign to education. Focusing on this particular set of “Turkish schools” in Turkmenistan provides details and data from which we can consider broader complexities of the movement as a whole. In particular, the study illustrates that current transitions in the Muslim world have long, complex histories that extend beyond today’s immediate questions about Islam, modernity, or extremism.
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Звіти організацій з теми "English dramatist"

1

Benton, Allyson Lucinda. Institutional Analysis of the Mexican Civil Service System. Inter-American Development Bank, November 2002. http://dx.doi.org/10.18235/0011015.

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The Mexican public sector has undergone a dramatic reorganization and professionalization since the initiation of economic crisis and reform in 1982. Though such reforms appear to have improved efficiency in the provision of public services, administrative changes did not include the implementation of a national career civil service. (Note: The title in this original document is in Spanish, but the document itself is in English.)
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2

Näslund-Hadley, Emma, Haydée Alonzo, Neulin Villanueva, Ricardo Gideon, and Yvonne Flowers. The Effects of the COVID-19 Pandemic on Education Outcomes in Belize. Inter-American Development Bank, April 2023. http://dx.doi.org/10.18235/0004836.

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Анотація:
The COVID-19 pandemic brought school systems to a halt across the globe. In Belize, remote learning was challenging owing to limited access to educational technologies and lack of familiarity with remote learning among teachers. This study draws on national standardized exams and specific achievement testing to assess pandemic-related learning losses at the primary education level. Based on administrative data, the study also analyzes changes in student enrollment, dropout rates, and grade repetition at the primary and secondary levels. We find that school closures resulted in significant learning losses in English language and mathematics at the end of primary education. Matching international trends, the largest losses occurred in mathematics. Among the strands of mathematics content, the one showing the most dramatic loss is number sense in primary schools and geometry in secondary schools; the achievement level in both dropped by around 55 percent. Also, in line with international trends, average student repetition and dropout rates surged at the secondary level after prolonged school closures. The largest increase in dropout and repetition levels were found in urban secondary schools: the average dropout rate increased by 51 percent in the 2020/21 school year, compared with the average rate in the year prior to the start of the pandemic, while the repetition rate increased from 6.7 percent in the 2019/20 school year to 11.6 percent in the 2021/22 school year.
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