Готові списки джерел за темами / Governors – drama

Добірка наукової літератури з теми "Governors – drama"

Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Governors – drama"

1

Yastrebov-Pestritskiy, M. S. "CATHERINE'S INSTRUCTION TO GOVERNORS OF 1764: OBJECT OF SOURCE-STUDIES AND LINGUISTICS." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 190–96. http://dx.doi.org/10.35634/2412-9534-2020-30-2-190-196.

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The document considered in this article is from 1764, dated April 21, and is entitled "Instruction to governors". This Instruction, written in St. Petersburg personally by Catherine The Great, consists of eighteen articles, each of which prescribes to the governors of the Russian Empire how to act in a particular situation (the document also refers to non-emergency situations). The content of this historical document, as well as the language in which it is written, is of exceptional interest to the researcher. The personality of the progressive Empress is read in both of these factors. The content of the articles speaks of a domineering nature, a leader who shows ingenuity in taking care of the entrusted state. Thestyle of this documentindicates the desire of the Queen to get closer to the people linguistically, to strengthen the title of Russian language personality (as you know, Russian was not the native language of Catherine II). Today, in the XXI century, the reader has the opportunity to evaluate both the main meaning of the Instruction, and the features of the language, the idiostyle of the Royal author, who, as we know, was fond of both literature and drama.
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2

Orr, Stanley. "Taft’s Chair, Serra Cross, and Other Props." Pacific Coast Philology 56, no. 1 (April 1, 2021): 99–119. http://dx.doi.org/10.5325/pacicoasphil.56.1.0099.

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As Carey McWilliams notes in Southern California Country: An Island on the Land (1946), theatricality has persisted as a central tactic of empire in the U.S. borderlands—from the rituals Spanish missionaries used to attract Native Americans to the historical dramas of Anglo-American boosters. The early decades of the twentieth century saw a number of plays that, in the words of Chelsea K. Vaughn, “romanticized the Spanish and Mexican periods of California history before assigning them comfortably to the past.” These include John S. McGroarty’s The Mission Play (1912) and Garnet Holme’s adaptation of Ramona (1923) as well as his original drama The Mission Pageant of San Juan Capistrano (1924). Such dramas were anticipated by ceremonial pageants that took place at Mission Revival hotels throughout the early twentieth century—to wit, Governor Theodore Roosevelt’s visit to the 1899 Rough Riders Reunion at the Castañeda Hotel in Las Vegas, New Mexico, and President William Howard Taft’s 1909 Columbus Day sojourn at the Glenwood Mission Inn, in Riverside, California. Each of these “hospitality pageants” casts the visiting dignitary as a typological protagonist—the Anglo-American “antitype” of the Spanish “type” embodied in conquistadores and/or missionaries.
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3

Zanetti Negrini, Márcio, and Cristiane Freitas Gutfreind. "O rosto da multidão e a sobrevivência das imagens da classe trabalhadora." INTERIN 27, no. 1 (December 28, 2021): 120–38. http://dx.doi.org/10.35168/1980-5276.utp.interin.2022.vol27.n1.pp120-138.

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As imagens históricas das grandes mobilizações de trabalhadores durante os governos de Getúlio Vargas estão presentes na contemporaneidade por meio do cinema, que atua como um grande arquivo imagético e sonoro para a produção de saberes sobre vivências políticas e sociais. Nesse sentido, analisamos imagens do filme Getúlio Vargas – glória e drama de um povo, dirigido por Alfredo Palácios e lançado em 1956. O longa-metragem caracteriza-se pela utilização de imagens de arquivo provenientes de cinejornais produzidos ao longo dos diferentes governos de Getúlio Vargas. Elencamos o rosto da multidão como procedimento de análise do filme, que mostra a emoção como prática política da classe trabalhadora reunida em grandes atos públicos. As imagens observadas em Getúlio Vargas – glória e drama de um povo sobrevivem ao agenciar inspirações de resistência política no presente.
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4

De Boer, Marvin E. "Governor Clinton and Educational Reform: The Use of Non- Language Based Symbolism." American Review of Politics 8 (January 1, 1988): 78–85. http://dx.doi.org/10.15763/issn.2374-7781.1987.8.0.78-85.

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By the close of the extra-ordinary session of the Arkansas General Assembly on November 10,1983, a significant program of public education reform had been endorsed and a one cent increase in the sales tax had been passed to fund it. Aside from the question of the value of this public policy for the future of education in Arkansas, scholars in a number of disciplines may well examine this situation to validate theory and to discover useful insights. Converging in this effort, are, at least, political scientists and communication scholars who view these concerns as a common domain. As noted political scientist Murray Edelman has observed, gestures and speeches make up the drama of the state (Edelman, 1964: 172).
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5

Filewod, Alan. "The Hand that Feeds." Canadian Theatre Review 51 (June 1987): 9–16. http://dx.doi.org/10.3138/ctr.51.002.

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By the time this article appears in print, the two winners (in English and French) of the 1986 Governor General’s Award for Drama will have been announced; but as I write this the juries have not yet met to select a short list of candidates. Late in the spring the Canada Council will plant a discreet notice in the media announcing the finalists in each of the prize’s four categories (fiction, non-fiction, poetry, and drama), and about a month later a second terse announcement will name the winners. The official gaze of Canadian culture will fix momentarily on literature, blink and pass on to things that really matter. Like Pay-TV.
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6

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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7

Thompson, Judith, and Robert Nunn. "The Other Side of the Dark." Canadian Theatre Review 65 (December 1990): 61–62. http://dx.doi.org/10.3138/ctr.65.013.

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This text contains four plays by Judith Thompson: The Crackwalker (first produced in 1980); / Am Yours (1987); the radio play Tornado (first broadcast in 1987); and “Pink,” a brief monologue commissioned for the Arts Against Apartheid Benefit in Toronto (1986). It is her second published text in a decade to receive the Governor General’s Award for Drama (the first was for White Biting Dog in 1985).
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8

McCoy, Jennifer. "O referendo na Venezuela: um ato em um drama inacabado." Novos Estudos - CEBRAP, no. 72 (July 2005): 5–18. http://dx.doi.org/10.1590/s0101-33002005000200001.

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O artigo enfoca o referendo revogatório realizado na Venezuela em agosto de 2004, que confirmou a permanência de Hugo Chávez na Presidência do país até o fim de seu mandato. Apontam-se o contexto político que nele culminou, no qual o governo Chávez foi alvo de intensas contestações por parte de seus opositores, e seus conturbados desdobramentos, com acusações de fraude e de atuação imparcial da autoridade eleitoral. A autora destaca a rígida polarização que permeou o processo, dividindo a sociedade venezuelana e impondo ao governo e à própria oposição o desafio de reconstituir o consenso nacional em torno dos interesses coletivos.
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9

Messamore, Barbara J. "The Governor General and the Prime Ministers: The Making and Unmaking of Governments." Canadian Journal of Political Science 39, no. 3 (September 2006): 683–84. http://dx.doi.org/10.1017/s0008423906219978.

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The Governor General and the Prime Ministers: The Making and Unmaking of Governments, Edward McWhinney, Vancouver: Ronsdale Press; 2005, pp. 193.The political drama surrounding Paul Martin's minority government awakened media observers to the significance of the governor general, an office long dismissed as a ceremonial vestige of colonialism. There are remarkably few works that might enlighten them about the role. In general, one must seek for such understanding piecemeal through historical studies. This lays a heavy burden of responsibility on any new work purporting to, as Edward McWhinney puts it, define “contemporary ground rules for the exercise of the reserve, discretionary powers of the office” (19). In this not-so-crowded field, a work by a political scientist of McWhinney's considerable reputation could well emerge as the authoritative work on the subject. McWhinney offers it in this spirit, even appending some “Rules of Constitutional Prudence for a Contemporary Governor General.” But a note of caution is in order.
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10

Salter, Denis. "Adjudicating the Dominion Drama Festival: Declarations of (In)Dependence." Canadian Theatre Review 62 (March 1990): 11–18. http://dx.doi.org/10.3138/ctr.62.002.

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The Dominion Drama Festival functioned as Canada’s national theatre from its much heralded inception in 1932 until its controversial reorganization as a non-competitive festival in 1971. Its founder, His Excellency the Right Honourable the Earl of Bessborough, Governor-General of Canada, conceived of the DDF in order to stimulate Canada’s cultural life and to help unite its diverse regions into the semblance of a single nation. From the start the DDF, despite its intended populist appeal, had an aura of aristocratic privilege, and single-mindedly devoted itself to an etiquette of high culture to which its competing amateur groups across the country were meant to aspire – even if they didn’t always know why or how they ought to do so.
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Дисертації з теми "Governors – drama"

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Cardoso, Letícia Conceição Martins. "O TEATRO DO PODER: Cultura e Política no Maranhão." Universidade Federal do Maranhão, 2008. http://tedebc.ufma.br:8080/jspui/handle/tede/612.

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Made available in DSpace on 2016-08-17T18:02:02Z (GMT). No. of bitstreams: 1 Leticia Conceicao Martins Cardoso.pdf: 1056357 bytes, checksum: 657103da45524838f46062afaff34759 (MD5) Previous issue date: 2008-03-25
FUNDAÇÃO DE AMPARO À PESQUISA E AO DESENVOLVIMENTO CIENTIFICO E TECNOLÓGICO DO MARANHÃO
Analysis of the cultural management of the governments of Roseana Sarney in Maranhão (1995-1998/1999-2001), designed by Maranhão Culture Secretary (SECMA) and Maranhão Culture Foundation (FUNCMA). It s searched to identify the field of cultural relations between actors and the State, taking as reference the speeches of those actors through interviews, analysis of the Activities Reports of SECMA/FUNCMA and reports in local newspapers. The Government of Roseana Sarney is located on the discussion of culture public policy in Brazil and a study about the culture state policies in the country which manufactured national symbols until José Sarney government as President of Brazil (1985 -1980), when was created the first Law of the Encouragement Culture (Sarney Law). It s observed that in the first time of the cultural management of Roseana Sarney (1995- 1997) a conception of culture identified with the heritage was predominated. And, in a second time (1998-2001), state interventions focused on a concept of popular culture . In both moments theatrical strategies are created, leading to a symbolic capital accumulation on the protagonist: the governor. But the cultural actors are active subjects in this play, also creating their visibility strategies. Thus, power dispute is developed through stage of power acts. In this context, the media is an important scene for the acquisition of symbolic power and can serve both as a group or another. The intention, therefore, is to explain how the relations between the State and culture are established; to know what strategies are used, why and by whom are developed, trying to identify if these relations can be considered a public policy of culture.
Análise sobre a gestão cultural dos Governos de Roseana Sarney no Maranhão (1995- 1998/1999-2001), concebida pela Secretaria de Estado da Cultura do Maranhão (SECMA) e pela Fundação Cultural do Maranhão (FUNCMA). Busca-se identificar o campo de relações entre atores culturais e o Estado, tomando como referência os discursos desses atores, através de entrevistas, da análise dos Relatórios de Atividades da SECMA/FUNCMA e notícias veiculadas em jornais locais. Para situar o Governo de Roseana Sarney na discussão sobre as políticas públicas culturais no Brasil, constrói-se uma trajetória das políticas estatais de cultura no país, que tenderam à fabricação de símbolos nacionais, até o Governo de José Sarney na Presidência da República (1985- 1980), quando foi criada a primeira Lei de Incentivo à Cultura (Lei Sarney). Observa-se que na primeira fase da gestão cultural de Roseana Sarney (1995-1997), predominou uma concepção de cultura identificada com o patrimônio . E, na segunda fase (1998-2001), as intervenções estatais concentraram-se naquilo que o órgão de cultura concebeu como uma cultura popular . Percebe-se que nos dois momentos são criadas estratégias teatrais, que levam a um acúmulo de capital simbólico na figura de uma protagonista: a governante. Mas os atores culturais são sujeitos ativos nessa encenação, criando também suas estratégias de visibilidade. Assim, a disputa pelo poder se desenvolve por meio da teatralização dos atos de poder. Neste contexto, a mídia constitui um cenário importante para a aquisição de poder simbólico, podendo servir tanto a um grupo como a outro. A intenção, portanto, é explicar como são estabelecidas as relações da cultura com o Estado; saber que estratégias são usadas, por que e por quem são desenvolvidas, tentando identificar em que medida essas relações constituem uma política pública de cultura.
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Книги з теми "Governors – drama"

1

Donald, Connolly. Men of powers. Bethesda, MD: D.A. Connolly, 1990.

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2

Sanchez, George J. Uncle Earl: A play in two acts : suggested by the life and words of Governor Earl K. Long of Louisiana. Woodstock, Ill: Dramatic Pub., 2005.

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3

Jaja, Clinton E. Amaechi vs. INEC: A compendium of classical drama. Ibadan: Kraft Books Limited, 2008.

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4

Overtveldt, Johan van. Bernanke's test: Ben Bernanke, Alan Greenspan, and the drama of the central banker. Chicago: Agate, 2008.

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5

1948-, Edgar David, and Edgar David 1948-, eds. Continental divide: Mothers against, Daughters of the revolution. London: Nick Hern, 2004.

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6

Edgar, David. Continental divide: Daughters of the revolution. New York, NY: Dramatists Play Service, Inc., 2005.

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7

Warren, Robert Penn. All the king's men. New York: Harcourt, 2001.

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8

Warren, Robert Penn. Vsi︠a︡ korolevskai︠a︡ ratʹ: Roman. Minsk: Izd-vo "Universitetskoe", 1987.

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9

Warren, Robert Penn. Vsi︠a︡ korolevskai︠a︡ rat': Potop. Moskva: "OLMA-Press", 1998.

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Warren, Robert Penn. All the king's men. Orlando: Harcourt, 2005.

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Частини книг з теми "Governors – drama"

1

Cressy, David. "English Islands in the Norman Sea." In England's Islands in a Sea of Troubles, 37–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856603.003.0004.

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This chapter examines the legal and constitutional idiosyncrasies of the Channel Islands. As remnants of the Duchy of Normandy, Jersey, Guernsey, and their dependencies were outside of English law, and lay beyond the reach of courts and parliaments at Westminster. Yet they were subject to crown-appointed military governors and could be answerable to the monarch’s Great Seal. Royal and papal charters assured their neutrality in times of war. This chapter explores the drama of London’s attempt to impose its will on the islands, and the islanders’ insistence on their customs, privileges, rights, and immunities. It shows how governors and captains of varying competence and rectitude sparred with bailiffs and jurats over authority, appointments, resources, and jurisdiction.
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"The Impeachment Drama." In The Impeachment of Governor Sulzer, 247–62. SUNY Press, 2012. http://dx.doi.org/10.1515/9781438443393-022.

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Cressy, David. "God’s Islands." In England's Islands in a Sea of Troubles, 99–129. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856603.003.0007.

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This chapter examines the religious culture and ecclesiastical arrangements of various island communities, showing how devotional activities and godly discipline were affected by politics and custom. The Isle of Wight was part of the Diocese of Winchester, with patterns of conformity and dissent similar to those of the mainland. Lundy was extra-parochial, and forgotten by the bishops of Exeter. The Scillies, too, belonged to the diocese of Exeter, but episcopal influence was almost invisible. The Isle of Man had its own bishop, but godly conformity was rarely attained. Religious radicals reached most islands in the decades of revolution, and lingered or revived in the later seventeenth century. The Channel Islands, as ever, were anomalous, having adopted a Presbyterian discipline under Elizabeth I. Jersey was brought into conformity with England’s prayer book and canons, at least officially, in the reign of James I, but Presbyterianism continued in Guernsey until the Restoration. Each island experienced conflicts in the later seventeenth century over worship, discipline, conformity, and dissent. The disputes of laity and clergy, deans and bailiffs, and governors and the godly formed an offshore drama against the continuing development of the national Church of England.
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Fermedo, Cornelius, and British Drama 1533–1642: A Catalogue. "2541: The Governor." In British Drama 1533–1642: A Catalogue, Vol. 9: 1632–1636, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oseo/instance.wiggins2541.

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Tixier de Ravisi, Jean, Robert Radcliffe, and British Drama 1533–1642: A Catalogue. "87: A Governor." In British Drama 1533–1642: A Catalogue, Vol. 1: 1533–1566, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2011. http://dx.doi.org/10.1093/oseo/instance.wiggins87.

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McDonough, Christopher M. "Prologue: ‘Do You Enjoy Being a Symbol, Pontius?’ The Trial of Pontius Pilate and Governor Collins." In Pontius Pilate on Screen, 1–12. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474446884.003.0001.

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On Easter Monday, 1957, The Trial of Pontius Pilate, a drama by the highly regarded playwright Robert Sherwood, aired on NBC. Among its viewers, that evening was the governor of Florida, LeRoy Collins, who later would make specific reference to the program during a significant speech given at the height of race riots in Tallahassee in which he publicly denounced segregation and embraced the civil rights movement. Speaking about a strange new situation through a new mode of mass communication, Collins appealed to Biblical authority, not as he found in the Scriptures but rather as found on the screen. As compelling a message as it contained for viewers like the governor of Florida, however, The Trial of Pontius Pilate had in fact almost not reached the air. NBC had been worried about charges of anti-Semitism in the script, asking noted rabbi Louis Finkelstein to work with Sherwood on revisions. In the end, the program did not air until years after Sherwood’s death. As he suspected it would, Collins’ political career came to an end with this speech, but the governor’s subsequent reputation is held in far higher regard than that of his ancient Roman counterpart.
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Hinton, Corrine E. "From ‘Fixer’ to ‘Freak’: Disabling the Ambitious (Mad)Woman in Wentworth." In Screening the Gothic in Australia and New Zealand. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721141_ch12.

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In 2013, Foxtel (SoHo) debuted Wentworth, the women-in-prison television drama and remake of Prisoner: Cell Block H (1979–1986). Season Two resurrects Joan ‘The Freak’ Ferguson, the prison’s new Governor. While the disturbing and the disturbed are tropes common in both gothic texts and prison dramas, something more sinister lurks within Wentworth as viewers witness Ferguson’s personal, psychological, and professional disintegration. Positioned within a feminist disability studies framework, this analysis reveals how Wentworth deliberately frames Ferguson as a revenge-seeking madwoman, conflating symptoms of psychiatric disorders that ultimately dehumanize her. By adopting the banal archetype of the madwoman as villain and leveraging disability as spectacle, Wentworth perpetuates patriarchal and ableist misconceptions about women in power and people with psychiatric disabilities.
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Conti, José Mauricio. "O Drama de um Governo “Com-Teto”." In A Luta Pelo Direito Financeiro, 219–24. Editora Blucher, 2022. http://dx.doi.org/10.5151/9786555501254-6-2.

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Conti, José Mauricio. "O Drama de um Governo “Com-Teto”." In A Luta Pelo Direito Financeiro, 219–24. Editora Blucher, 2022. http://dx.doi.org/10.5151/9786555501254-6-02.

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Conti, José Maurício. "O DRAMA DE UM GOVERNO “COM-TETO”: Pressão por gastos põe em xeque a credibilidade do ordenamento jurídico." In A luta pelo direito financeiro, 354–59. Editora Blucher, 2024. http://dx.doi.org/10.5151/9786555503326-56.

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Тези доповідей конференцій з теми "Governors – drama"

1

Pelegrini, Sandra de Cássia Araújo, and Gustavo Batista Gregio. "O cômico em tempos de dramas: uma análise das comédias cinematográficas produzidas durante os Governos Militares brasileiros." In VI Congresso Internacional de História. Programa de Pós-Graduação em História e Departamento de História – Universidade Estadual de Maringá – UEM, 2013. http://dx.doi.org/10.4025/6cih.pphuem.452.

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