Zeitschriftenartikel: „Mother courage“

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hampshire, Mary. „Mother courage“. Nursing Standard 16, Nr. 7 (31.10.2001): 20–21. http://dx.doi.org/10.7748/ns.16.7.20.s34.

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Gruber, E. N., D. Poredos, V. Cerancevic und E. Koic. „Mother of courage“. European Psychiatry 22 (März 2007): S216. http://dx.doi.org/10.1016/j.eurpsy.2007.01.723.

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Saleh, Sabrine. „Mothers and Sons: Representing Motherhood in Blood Wedding and Mother Courage and Her Children“. International Journal of English Language Studies 4, Nr. 7 (30.07.2021): 01–04. http://dx.doi.org/10.32996/ijels.2021.3.7.1.

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This paper examines the representation of the mother figure in two modern tragedies, namely Blood Wedding (1932) by the Spanish dramatist Federico García Lorca and Mother Courage and Her Children (1939) by the German playwright Bertolt Brecht. The paper sheds light on the binary representation of maternity in both plays. Hence, it highlights how the mother figures are depicted as traditional, “natural” mothers who are caring and overprotective but simultaneously contradict the traditional mother archetype, rendering themselves “bad mothers.” It shows that the mothers sacrifice their motherhood or maternal love for the sake of the other side of the binary which is traditions, honor, and revenge in the case of the Mother in Blood Wedding whereas business and capital in the case of Anna Fierling in Mother Courage and her Children. Eventually, the other side of the binary, which is not motherhood, wins. To achieve its purpose, the paper examines the mother-son relationship in Blood Wedding as well as the mother-son and the mother-daughter relationship in Mother Courage and Her Children.

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Baraitser, Lisa, und Amélie Noack. „MOTHER COURAGE: REFLECTIONS ON MATERNAL RESILIENCE“. British Journal of Psychotherapy 23, Nr. 2 (Januar 2007): 171–88. http://dx.doi.org/10.1111/j.1752-0118.2007.00016.x.

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5

Johnson, Brett D. „Mother Courage and Her Children (review)“. Theatre Journal 59, Nr. 2 (2007): 281–82. http://dx.doi.org/10.1353/tj.2007.0092.

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Marinovich, Filip. „Mother Courage Pushing Her S.U.V. up Capitol Hill“. Critical Quarterly 54, Nr. 2 (Juli 2012): 61–62. http://dx.doi.org/10.1111/j.1467-8705.2012.02056_9.x.

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Nagy, Viktor, und István Czuriga. „Treatment of stable angina pectoris. „Mother Courage and her children”“. Orvosi Hetilap 149, Nr. 7 (01.02.2008): 291. http://dx.doi.org/10.1556/oh.2008.28317.

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8

이인수. „Three Korean Adaptations of Brecht’s Mother Courage and Her Children“. Journal of korean theatre studies association 1, Nr. 65 (Februar 2018): 5–47. http://dx.doi.org/10.18396/ktsa.2018.1.65.001.

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Frederick A. Lubich. „Interview with Elisabeth Alexander: The Mother Courage of German Postwar Literature“. Women in German Yearbook: Feminist Studies in German Literature & Culture 12, Nr. 1 (1996): 189–201. http://dx.doi.org/10.1353/wgy.1996.0009.

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10

Beck, Bernard. „Mother Courage and Her Soaps:Incendies, Weeds,Nurse Jackie,and Daytime Drama“. Multicultural Perspectives 14, Nr. 1 (Januar 2012): 28–31. http://dx.doi.org/10.1080/15210960.2012.646834.

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Shields, Chris, Kate Russo und Michele Kavanagh. „Angels of Courage: The Experiences of Mothers Who Have Been Bereaved by Suicide“. OMEGA - Journal of Death and Dying 80, Nr. 2 (07.09.2017): 175–201. http://dx.doi.org/10.1177/0030222817725180.

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Despite the increasing number of people being bereaved by suicide, little is understood concerning the experiences of those bereaved by suicide as they struggle to make sense of a loved one’s death. The current study explored the experiences of four mothers who had been bereaved by suicide and the role of support groups in the meaning-making process following bereavement by suicide. Participants were interviewed and transcribed interviews were then analysed from an interpretative phenomenological perspective. Four main themes were identified: Continuing role of the mother; A never-ending quest; Finding sanctuary; and Rising up from the ashes. These themes relate to a range of emotions following bereavement by suicide, the meaning-making process, the social context and the role of the support group. Clinical implications are discussed in relation to these findings.

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Jesse Gardiner. „Mother Courage and Political Pragmatism: Sovietizing Brecht during the Thaw“. Slavonic and East European Review 93, Nr. 4 (2015): 626. http://dx.doi.org/10.5699/slaveasteurorev2.93.4.0626.

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13

Gleitman, Claire. „All in the Family: Mother Courage and the Ideology in the Gestus“. Comparative Drama 25, Nr. 2 (1991): 147–67. http://dx.doi.org/10.1353/cdr.1991.0008.

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Choi, Sun-Ah. „30-year War’s Character and Female Image being magnified as ‘Mother Courage’“. World History and Culture 43 (30.06.2017): 75–96. http://dx.doi.org/10.32961/jwhc.2017.06.43.75.

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Honegger, Gitta. „Gossip, Ghosts, and Memory: Mother Courage and the Forging of the Berliner Ensemble“. TDR/The Drama Review 52, Nr. 4 (Dezember 2008): 98–117. http://dx.doi.org/10.1162/dram.2008.52.4.98.

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Any actor taking on the role of Mother Courage takes on not only the ghost of Helene Weigel, whose performance of the role made theatre history, but also the notable past of the Berliner Ensemble, which began with the casting for the 1949 Berlin production under Soviet patronage and amidst the devastation of World War II and the Holocaust. The model ensemble was forged from a ragtag assembly of survivors whose individual and collective histories—professional and political—are deeply embedded in the play. In these times of endangered privacy and civil liberties, the genealogy of this historic ensemble serves again as a challenging model to examine the role of the theatre in society.

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Vork, Robert. „Silencing Violence: Repetition and Revolution in Mother Courage and Her Children“. Comparative Drama 47, Nr. 1 (2013): 31–54. http://dx.doi.org/10.1353/cdr.2013.0004.

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ANYIDOHO, KOFI. „Mother Courage (A Tribute to Auntie Efua From All Her Children in the Arts)“. Matatu 21-22, Nr. 1 (26.04.2000): 83–84. http://dx.doi.org/10.1163/18757421-90000307.

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Mersha, Sara. „Black lives and climate justice: courage and power in defending communities and Mother Earth“. Third World Quarterly 39, Nr. 7 (November 2017): 1421–34. http://dx.doi.org/10.1080/01436597.2017.1368385.

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Linville, Susan E. ,. (Susan Elizabeth). „"The Mother of All Battles": Courage Under Fire and the Gender-Integrated Military“. Cinema Journal 39, Nr. 2 (2000): 100–120. http://dx.doi.org/10.1353/cj.2000.0004.

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20

Goswami, Gutimali. „TO BE OR NOT TO BE A “MOTHER”: A Study of Bertolt Brecht’s Mother Courage and Her Children and Indira Goswami’s “The Offspring”“. New Literaria 1, Nr. 2 (04.12.2020): 78–84. http://dx.doi.org/10.48189/nl.2020.v01i2.013.

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Saltzberg, Matt. „Theories of labour: physically scoring Brecht’s Mother Courage and Her Children with Stanislavski, viewpoints, and composition“. Stanislavski Studies 8, Nr. 2 (02.07.2020): 237–45. http://dx.doi.org/10.1080/20567790.2020.1806617.

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22

Ashurova, Nodira J. „Mother’s love in “Shakhnameh” by Ferdowsi and “Khamsa” by Nizami“. Philological Sciences. Scientific Essays of Higher Education, Nr. 2 (März 2021): 102–15. http://dx.doi.org/10.20339/phs.2-21.102.

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The image of good-natured women mothers in medieval literature has always been in the center of attention of writers to express instructive thoughts and lofty humanistic ideas. In this regard, in order to give aesthetic significance to their works, writers with great professional creative skill in their works vividly depicted the images of women. Along with beauty, tenderness, restraint and courage, motherly love was the source of their power and strength in the writer's work. The article attempts to make a comparative analysis of the images of bold and beautiful women in “Shahnama” by Ferdowsi and “Khamsa” by Nizami. The novelty of the research comes down to the fact that the comparative aspect of the concept of a woman-mother is considered from the point of view of typological commonality and character differences. The images in the above-mentioned works are analyzed and the behavioral features, beauty, charm, knowledge and mind of women are characterized, the differences in images are determined.

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권경희. „A Brief Consideration to Dialectical Theory and Stylization from Two Productions of ≪Mother Courage and Her Children≫“. Journal of korean theatre studies association ll, Nr. 31 (April 2007): 45–76. http://dx.doi.org/10.18396/ktsa.2007..31.002.

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24

Eddershaw, Margaret. „Echt Brecht? ‘Mother Courage‘at the Citizens,1990“. New Theatre Quarterly 7, Nr. 28 (November 1991): 303–14. http://dx.doi.org/10.1017/s0266464x0000600x.

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The Citizens Theatre in Glasgow has a long and honourable tradition of serving its neighbourhood and its city, and a directorial team which remarkably combines professional distinction with loyalty to their theatre. In view of its reputation for productions of great visual brilliance, it is surprising to be reminded that, of all British repertory theatres, ‘national’ or regional, it has also the strongest continuous tradition of playing Brecht. Margaret Eddershaw, Senior Lecturer in Theatre Studies in the University of Lancaster, outlines the history of this tradition, which stretches back even beyond the present triumviral management, and proceeds to look at the most recent encounter of ‘the Cits’ with Brecht, Philip Prowse's 1990 production of Mother Courage. This was significant not only for the director's attitude to Brechtian theory, theatrical and political, in the aftermath of the previous year's events in Eastern Europe, but for its inclusion of an international ‘star’, Glenda Jackson, within the Cits' usually close-knit ensemble – its consequences also, arguably, of ‘political’ as well as theatrical interest.

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Lopez-Bassols, Indira, und Jose Alberto Garibaldi. „The Alchemy of Connection: A Fundamental Ingredient When Supporting Breastfeeding Dyads“. Clinical Lactation 10, Nr. 4 (01.11.2019): 188–94. http://dx.doi.org/10.1891/2158-0782.10.4.188.

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BackgroundEvery encounter in lactation care should aim to set the ground for an emerging human connection between the lactation consultant (LC) and the breastfeeding mother. Cultivating connection is as important as adequate clinical competencies and effective communication skills.MethodsThe article proposes a hermeneutics of care that articulates elements that enhance the understanding between the LC and the circumstances and realities of the breastfeeding dyad in the context of diagnosis, management, and healing. These elements can be best described by Martin Buber's (2013) I–Thou approach, which we use to enter into a relationship.ResultsWhen the LC has the courage and humility to convey her full presence for that mother and her circumstances, connection has been primed. The quality and depth of the LC– breastfeeding mother relationship, in turn, enhances diagnosis and healing options, particularly in chronic cases.ConclusionsThe “alchemy of connection” opens the ground for a relation of mutual trust between the LC and the mother and her world, which supports better breastfeeding care.

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Crow, Brian. „Peter Thomson Brecht: Mother Courage and Her ChildrenCambridge: Cambridge University Press, 1997. 206 p. £12.95. ISBN 0-521-59774-9.“ New Theatre Quarterly 15, Nr. 4 (November 1999): 343. http://dx.doi.org/10.1017/s0266464x00013348.

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27

Podgurski, Mary Jo. „Elisabeth Bing Is a Treasure: Personal Reflections on a Life in Birth“. Journal of Perinatal Education 23, Nr. 4 (2014): 169–71. http://dx.doi.org/10.1891/1058-1243.23.4.169.

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Celebrating Elisabeth Bing’s 100th birthday is an honor and a joy. Elisabeth’s life is an inspiration to all who continue her mission of birth and women’s advocacy. Dr. Mary Jo Podgurski strives to capture the indomitable spirit of the founder of American Society for Psychoprophylaxis in Obstetrics (ASPO)/Lamaze (now Lamaze International) through a personal reflection. Elisabeth Bing lived with valor. She is a role model to women everywhere, the mother of childbirth education, and a woman of great courage and wisdom. Thank you, Elisabeth, for the huge gift of your life.

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Seisenbayeva, Zh. „ARTISTIC FEATURE OF GIRLS ' EDUCATION IN KAZAKH LITERATURE“. BULLETIN Series of Philological Sciences 74, Nr. 4 (09.12.2020): 314–18. http://dx.doi.org/10.51889/2020-4.1728-7804.64.

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The article reveals the features and nature of artistic design in Kazakh literature. In the scientific article, proved by concrete examples of the features of describing the image of a mother, raising a daughter in Kazakh Proverbs, it was formulated that such qualities as selflessness, courage, arrogance, foresight and wisdom have been the basis of legendary stories, heroic songs, songs in the mouth of the country for centuries. In connection with the wise philosophical principle "forty years of a girl", our ancestors paid special attention to the education of girls. In order to meet the" Kyz osse Eldin korkimi", he was instilled morality, decency, hard work, beauty. As they say "Kyz zhattyk", our ancestors, who studied life, wanted the upbringing of their daughters in a foreign country to be individualized by what I saw. The main problem facing our modern national literature is the images of women-mothers who have taken as a basis the upbringing of the nation, prosperity, and family well-being, and not the negative character traits found in women-mothers. The scientific article provides examples of works about Kazakh heroes who performed equestrian feats together with men for the freedom of their country and showed unwavering selflessness.

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Kim, Jin Soo. „Traditions of Korean Folk Performances in the Contemporary Monodrama“. Observatory of Culture, Nr. 4 (28.10.2015): 46–51. http://dx.doi.org/10.25281/2072-3156-2015-0-4-46-51.

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He increasing interest to the one-actor theatre in Korea is caused by the existence of the pansori, a ballade performed by narrator to the accompaniment of a drum, in the Korean folk tradition. Nowadays, the Korean folk performance tradition is widely used by directors in contemporary monodramas. The article analyzes two performances: “The Byeoksok Fairy” (director - Sohn Jin chaek, actress - Kim Sung nuy) by Bae Sam Sik, a well-known Korean dramatist, which uses the traditions of the Korean folk performance madan nori; and the “Mother Courage and Her Children” (director - Nam In woo, actress - Yi Ja ram) by Bertolt Brecht, staged in the pansory style.

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Rajendran, Jayanthi. „An Affirmation of Black Culture through Revolution of Signs: A New Historicism Insight into Sue Mon Kidd’s The Secret Life of Bees“. Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 5, Nr. 9 (09.12.2018): 99. http://dx.doi.org/10.19085/journal.sijmas050901.

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<p>The Secret Life of Bees begins with Lily’s encounter of bees in her bedroom. Bees and bee-related objects function as a central symbol and motif in the novel. Apparently, they also signify guidance and demonstrate the power of a female community through a bond of relationship. Signs and symbols study the life within the society which is a part of social, cultural and psychological relation to semiology. And, also this is a girl’s (Lily’s) journey to find the truth about her mother whereby setting the captive nanny Rosaleen free from the bondage and finally out of the cage from the confinement of her father T. Ray. Throughout this novel Lily is in search of truth about her mother and whether her mother loved her or not. Eventually, signs and truth converge at a point in understanding the whole novel in a better perspective. Thus, this paper focuses on applying the signs to the text using semiotic theory and further focus on applying the concept of new historicism to the text in the light of truth which is a matter of interpretation of culture and history through revolution whereby affirming the Black Culture and their identity in white. Reality and courage of the novel are highlighted in the scenario of culture identity.</p>

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FitzPatrick Dean, Joan. „Hilton Edwards, Brecht and the Brechtian“. Review of Irish Studies in Europe 4, Nr. 1 (14.06.2021): 82–98. http://dx.doi.org/10.32803/rise.v4i1.2622.

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The Dublin Gate Theatre Company’s repertory of international, often experimental plays offers perhaps the clearest distinction between the Gate and the Abbey in the mid-twentieth century. A growing body of scholarship focuses on how Hilton Edwards and Micheál mac Liammóir deployed innovative, non-realistic staging techniques and brought to Ireland design elements associated with European artists. The Gate’s international remit can also be seen in its production of plays not merely authored by foreign playwrights, but focused on issues outside the conventional purview of Irish politics, including anti-Semitism and totalitarianism. Throughout his career, Hilton Edwards often sought out non-realistic dramaturgies to critique modern institutions. Some of the plays chosen by Edwards and mac Liammóir were so provocative, socially-conscious, and politically-charged that they challenged the prevailing ethos in Catholic Ireland and incurred the wrath of the Catholic Cinema and Theatre Patrons’ Association. Edwards’ exposure to Bertolt Brecht’s plays, theories, and the 1956 London performances by the Berliner Ensemble prompted not only his production of Mother Courage in 1959 and Saint Joan of the Stockyards two years later, but also his greater willingness to comment on theatre, for example on the radio and in his book The Mantle of Harlequin (1958). Edwards shared with Brecht an awareness of music as integral to performance and a vision of theatre unconstrained by realism and the proscenium arch. Although the Gate repertory of new productions in the post-Emergency era may appear unsurprising, that perspective is informed by the half century in which dramatists such as Arthur Miller and Brecht emerged canonical figures. Hilton Edwards’ direction of Mother Courage and Saint Joan of the Stockyards advanced the Gate’s internationalism and helped to reshape the political nature of Irish theatre. Keywords: Hilton Edwards, Dublin Gate Theatre, Bertolt Brecht, Irish theatre, theatre and politics, Brechtian

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DESILVA, DAVID A. „The Perfection of ‘Love for Offspring’: Greek Representations of Maternal Affection and the Achievement of the Heroine of 4 Maccabees“. New Testament Studies 52, Nr. 2 (April 2006): 251–68. http://dx.doi.org/10.1017/s0028688506000154.

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A close comparison with Plutarch's De amore prolis and Aristotle's Nicomachean Ethics shows the author of 4 Maccabees to have used common topics from Greek ethical reflection on love for offspring as a means of commending Torah-observance as the means by which one is enabled to secure one's children's eternal well-being, fulfilling the natural goal of love for offspring more completely. The author shows how trust in God's future enables the mother to view even the death of her children as the fulfillment rather than the negation of her maternal investment, as in the laments of Euripides's heroines in Trojan Women and Hecuba, from which the author explicitly distances her, enabling her exemplary courage.

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Fortune, Christopher. „Georg Groddeck's Influence on Sandor Ferenczi's Clinical Practice as Reflected in Their Correspondence 1921–1933“. Psychoanalysis and History 4, Nr. 1 (Januar 2002): 85–94. http://dx.doi.org/10.3366/pah.2002.4.1.85.

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Georg Groddeck's influence on Sandor Ferenczi was critically important to the development of psychoanalysis, and includes influencing Ferenczi's recognition of the significance of the mother which led to the development of object relations theory, his championing the experience of the child and the importance of early trauma, and his recognition of the importance of the body–mind relationship. Excerpts from the new English edition of the Ferenczi–Groddeck Correspondence (Open Gate Press/Other Press) extensively illustrate Groddeck's impact on Ferenczi's ideas during the critical period of the mid-1920s to 1932. This paper postulates that, without Groddeck, Ferenczi may never had the courage to challenge Freud, and thereby expand the frontiers of psychoanalysis.

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Čopra, Aida. „Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann“. Društvene i humanističke studije (Online) 6, Nr. 3(16) (27.07.2021): 81–94. http://dx.doi.org/10.51558/2490-3647.2021.6.3.81.

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„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.

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Baugh, Christopher. „Brecht, Mother Courage and her Children (Plays in Production). By Peter Thomson. Cambridge: Cambridge University Press, 1997. Pp. xiii + 206. £35/$59.95 Hb; £12.95/$18.95 Pb.“ Theatre Research International 23, Nr. 2 (1998): 187–88. http://dx.doi.org/10.1017/s0307883300018642.

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Goddard, Chris. „The abuse of children continues: Protecting children from abuse by professionals, Part Four“. Children Australia 19, Nr. 2 (1994): 37–39. http://dx.doi.org/10.1017/s1035077200003977.

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The recent articles (Goddard 1993a; 1993b; 1994), describing in some detail the battle of the woman who refused to ignore the abuse of her child by a school teacher, have provoked a number of telephone calls and letters. A number of people have praised the tenacity and courage of the mother in continuing to battle against the bureaucracy.One mother has given permission to publish her story of similar experiences in attempting to get the bureaucracy to pay attention to the rights of children to protection. It is of great concern to me that, six years after first writing about this (Goddard 1988), the responses of organisations do not appear to have greatly changed.Where a staff member is accused of abusing a child, the organisations still appear to be more concerned with protecting themselves rather than protecting the vulnerable children (Hechler 1988).I would like to take this opportunity to repeat the questions I asked last year: Why are parents, who do know or suspect that their children are being abused, treated so badly when they attempt to report?Why do services appear to be concerned with protecting the perpetrator rather than protecting the child?Why do such cases so often deteriorate into direct personal attacks on the parents (or professionals) who are trying to stop the abuse?(Goddard 1993a:41)

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Craven, Ian. „Adaptation, Action, Response: ‘Four Horsemen of the Apocalypse’ at the Citizens Theatre, Glasgow“. New Theatre Quarterly 8, Nr. 31 (August 1992): 203–20. http://dx.doi.org/10.1017/s0266464x00006837.

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Several of the novels of the Spanish writer Vicente Blasco Ibanez (1867–1928) have provided the basis for theatrical adaptations: but the version of The Four Horsemen of the Apocalypse (1916) by Peter Granger-Taylor, staged in March 1990 at the Citizens Theatre, Glasgow, was the first for sixty years. In the following feature, Ian Craven, who teaches in the Department of Theatre, Film, and Television Studies at the University of Glasgow, provides a full account of Jon Pope's production, considering questions of adaptation, performance, and response, and also paying special attention to the influence of the screen versions of 1921 and 1962. His analysis is complemented by extracts from an interview with the adapter and director. A study by Margaret Eddershaw of Philip Prowse's production of Brecht's Mother Courage, in which Glenda Jackson took the title role during the same season at the Citizens, appeared in NTQ28 (November 1991).

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Dondero, Maria Giulia. „Photography as a Witness of Theatre“. Recherches sémiotiques 28, Nr. 1-2 (07.10.2010): 43–57. http://dx.doi.org/10.7202/044587ar.

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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.

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Weidemann, Hans-Ulrich. „Jesus als Typos der Mannhaftigkeit“. Vigiliae Christianae 74, Nr. 1 (23.01.2020): 29–75. http://dx.doi.org/10.1163/15700720-12341412.

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Abstract This article examines the way Cyril of Alexandria interprets the Passion narrative in his commentary on the Gospel of John. It argues that besides the doctrinal, christological focus of his exegesis Cyril is concerned with a second issue: the contested masculinity of Jesus and his followers during the events of the Passion. This concern becomes clear when Cyril designates the cross-bearing Jesus as “the type of manly courage” (typos andreías). Following a survey of the current historical masculinity studies, the article examines Cyril’s interpretation of such scenes of the Johannine Passion account where Jesus is depicted as being arrested, beaten and flogged, humiliated and finally crucified – i.e., depicted in a way that might seem to contradict antique ideals of manliness. It finally analyzes Cyril’s explanations as to various “unmanly” or “manly” traits of Jesus’ adversaries, especially of the Jews, and of his followers: Peter, his beloved disciple and his Mother.

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Barman, Surasree Deb. „Which Cinderella You Want Your Daughter To Be?“ SMART MOVES JOURNAL IJELLH 9, Nr. 1 (28.01.2021): 146–57. http://dx.doi.org/10.24113/ijellh.v9i1.10887.

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Modern age has provided great opportunities in all domains of people's lives, but it has also generated unexpected obstacles; one of which is a negative change in the concept of beauty in society. The new emerging tendency of people to appear like a supermodel in social media and to draw the interest of others by adding beauty filters not only sends an ambiguous message about beauty, but also produces a false claim of appearance where teenagers like to 'fake it.' Beauty has always been the contentious subject in most fictional works and specially in fairy tales. Classic fairy tales portray their heroine as a beautiful being, a picture-perfect substance. They are celebrated not for their confidence or bravery, but for their outward appearance, clothing and jewels. Thus, every girl child has a fantasy of finding a Fairy God Mother who can turn her into a stunning, attractive princess and only then, they can meet their prince charming and happily ever after. But things are not the same, they don’t have God Mother or they don’t want to remain as a beautiful angel, rather, they want to be ordinary with full of courage and confidence to fight back to any evil. They don’t need any prince charming to fight for her rather they want to fight for their own. This paper will study the contrast between the classical and modern story of Cinderella in Children Literature and also explore how the concept of beauty is changing in the modern books and fairy tales.

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Tabori, George, und Jack Zipes. „My Mother's Courage“. Theater 29, Nr. 2 (1999): 108–29. http://dx.doi.org/10.1215/01610775-29-2-108.

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Diotaiuti, Pierluigi, Lavinia Falese, Stefania Mancone, Stefano Corrado, Luca Mallia, Arnaldo Zelli und Fabio Lucidi. „Psychometric Properties and Reliability of the Referee Self-Efficacy Scale (REFS) in Volleyball Referees“. International Journal of Environmental Research and Public Health 17, Nr. 22 (13.11.2020): 8423. http://dx.doi.org/10.3390/ijerph17228423.

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Background: Volleyball officials require a combination of qualities, e.g., confidence, decisiveness, courage and mental toughness as very important attributes for their performance. Measurement of the self-efficacy of volleyball referees has not been studied with large samples; therefore, the aim of this study was to fill this gap in the research. Methods: Four-hundred and forty-five international volleyball referees participated in the study fulfilling the referee self-efficacy scale in the English version. Results: The confirmatory analysis verified the four-factor structure of the scale and its reliability in this specific sample of international volleyball referees. ANCOVA revealed a significant effect of the covariate “level of education” for all four dimensions of referees’ self-efficacy. Conclusions: Although English was not the mother tongue for most of the subjects in the sample, the scale was statistically reliable, and the items were easy to understand, thus making the tool very suitable to use for further studies on multilingual referees. The study also suggests enhancing the level of education of the officials because of its significant effect on the perceived self-efficacy during refereeing.

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S. Nalan, Arthur. „Pertunjukan Musik Teatrikal “IBU” Produksi Teater Koma“. Resital: Jurnal Seni Pertunjukan 18, Nr. 1 (27.01.2019): 13–26. http://dx.doi.org/10.24821/resital.v18i1.2443.

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Penelitian ini membahas musik teatrikal bergaya opera dari pertunjukan musik teatrikal Ibu produksi Teater Koma. Teater Koma telah memilih berbagai komunikasi ekpresifnya, di antaranya lakon-lakon asing yang disadur, lakon-lakon Cina, lakon-lakon wayang kreatif, dan lakon-lakon realis ciptaan N. Riantiarno. Setiap produksi lakon-lakon tersebut selalu memakai musik teater yang disesuaikan dengan bentuk dan jenis lakonnya. Musik teater tersebut dapat berupa ilustrasi dan atau pengiring penuh sepanjang pertunjukan berlangsung. Untuk membahas musik teater bergaya opera ini dipilih lakon IBU yang merupakan saduran dari lakon Mother Courage and Her Children karya dramawan Jerman terkenal Bertolt Brecht. Pembahasan meminjam teori sociology of spactacles dari Guy Debord dan teori komunikasi paradigma naratif dari Walter Fisher, serta teori homofili dari Carley H. Dodd. Berdasarkan penelitian dapat disimpulkan bahwa pertunjukan Lakon Ibu merupakan teater musikal bergaya opera yang menghadirkan musik teater bersifat kolektif dalam emosi manusia, terutama karakter tokoh. Kontekstualitasnya ketimpangan masyarakat pada masa peperangan, di mana kaum pemodal selalu berada di belakangnya. Lakon IBU juga memiliki dramatik naratif yang menarik bagi penonton, sehingga mampu menciptakan komunikasi yang berdimensi homofili.

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Hunka, George. „A Bookshelf of Brecht“. PAJ: A Journal of Performance and Art 38, Nr. 2 (Mai 2016): 123–28. http://dx.doi.org/10.1162/pajj_r_00324.

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Last December, actress Tonya Pinkins abandoned a Classic Stage Company production of Bertolt Brecht's Mother Courage and Her Children just days before it was scheduled to open; Pinkins and the white director of the play, Brian Kulick, had sparred over Pinkins's interpretation of the role, and apparently the creative differences became irreconcilable. In a statement released by Playbill, Pinkins said, When Black bodies are on the stage, Black perspectives must be reflected. This is not simply a matter of “artistic interpretation”; race and sex play a pivotal role in determining who holds the power to shape representation. A Black female should have a say in the presentation of a Black female on stage. … As we enter 2016, the collective White creative community has a responsibility to bring as many ‘others’ into the room, both onstage and offstage, before, during and after decisions are made. Only then will the beauty of global humanity be heard, seen, and finally understood, so that the truth wipes away the misconceptions and misappropriations that cause the fear which foments violence around the globe.

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Ubersfeld, Anne. „Mother Couragein France“. Modern Drama 42, Nr. 2 (Mai 1999): 198–206. http://dx.doi.org/10.3138/md.42.2.198.

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Dr. Shayequa Tanzeel. „Silent Struggles: Women in Salma’s The Hour Past Midnight“. Creative Launcher 6, Nr. 3 (30.08.2021): 14–17. http://dx.doi.org/10.53032/tcl.2021.6.3.03.

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The paper intends to analyse the heroic lives of Muslim women, who are oppressed in the name of culture, tradition, and religion through a textual analysis of the novel The Hour Past Midnight, written by the Tamil writer Salma and translated by Lakshmi Holmstrom. The paper explores the struggles faced by the hero(in)es in the novel. Originally written in Tamil, and entitled Irandaam Jaamathin Kadhai, the novel depicts the challenging lives of Muslim women living in a cloistered space. The novel narrates the incidents in the lives of Rabia, her mother Zohra; Rahima, Wahida, Firdaus, Mumtaz, Farida and some other women of the neighbourhood. All of them are victims of the misogynist and patriarchal mind-set of their community. Some of these women stay silent, and endure every kind of pain and suffering with extreme patience and resilience. Others choose to defy the norms which are set for them and live on their terms. They stand up for their individuality, rights, and dignity. Each of these women, nonetheless, demonstrates heroic courage, fortitude, resilience, and resistance. By facing the predicament of their lives boldly, and by challenging the patriarchal institutions, these characters demonstrate that each of them is an individual full of potential.

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Sjöberg, Magdalena, und Hanna Bertilsdotter-Rosqvist. „Who is the mother? Exploring the meaning of grandparental support in young Swedish mothers’ narratives“. Feminism & Psychology 27, Nr. 3 (01.02.2017): 318–35. http://dx.doi.org/10.1177/0959353516685343.

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Within the western understanding of a nuclear family and the idea of good motherhood, the need for grandparental support is commonly viewed as an expression of deficient motherhood. Young mothers are often seen as incapable of maternal practices and as being in need of support from their extended family. An alternative view is that too much support might result in the grandmothers taking on the role of mother. This paper explores research around the ambivalent meanings of grandparental support in young Swedish mothers’ narratives. In this research, we identified three repertoires: inhibiting, being-there-no-matter-what and responsibility. Mothers who were following their expected life course achieved a subject position as a “real mother” within a functioning nuclear family. Mothers deviating from their expected life course achieved a subject position as either a “mother in becoming” with a functional and supportive extended family or as a “real mother” with a dysfunctional and non-supportive extended family. In the case of young mothers who are seen as insufficient, motherhood might become negotiable and fluid between the biological mother and the young mother’s own mother.

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Fariani Siregar, Nelia. „Improving Students’ Ability To Describe in Speaking Competence By Using Note Card, Known As Cue Card“. Syntax Literate ; Jurnal Ilmiah Indonesia 5, Nr. 7 (20.07.2020): 414. http://dx.doi.org/10.36418/syntax-literate.v5i7.1470.

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Speaking actually, is very important to be mastered because it can help us to communicate with others well. Speaking is used as a communicate tool to express the idea’s feeling, accept and transfer the information to other people. In another statement, it is the activity for sharing the information. Speaking enables students to receive information from people by their conversation. Based on preliminary research, the researcher found that there are some problems in speaking at Senior High School. Most of students are still afraid to speak English in front of the class because students are not confident to speak using English and they are lack of vocabulary. The students consider that English is a hard foreign language; they are fear of making mistakes, especially in Grammar. Thus, to make them have courage in speaking English, they need bugs motivation from the teacher. There are still many students asks question or answer teacher’s question by using first language (mother tongue) than using English. Most of students still feel anxious, shy and fear. This situation makes students have low achievement in speaking subject. Based on the brief explanation above, there are some problems in speaking. However, there is a way to solve the problems; one of way is using cue card as media in teaching speaking. Cue card is not something now in English teaching. Keywords: Cue Card, Speaking; Descriptive Text

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Golinkoff, Roberta Michnick. „‘I beg your pardon?’: the preverbal negotiation of failed messages“. Journal of Child Language 13, Nr. 3 (Oktober 1986): 455–76. http://dx.doi.org/10.1017/s0305000900006826.

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ABSTRACTThis longitudinal study of how preverbal infants communicate with their mothers utilized the situation in which the infant was seated in a highchair at lunchtime. This situation predisposed infants to use communication as a means, since they were often unable to achieve their goals without assistance. It was found that infants' communicative attempts were often unsuccessful; the present study focussed on how infants and mothers worked to establish the infants' intents after communication failures. In the preverbal negotiation of failed messages infants direct communicative behaviours to their mothers which their mothers fail to comprehend immediately, NEGOTIATIONS occur when mothers help infants make their intents clear. Negotiation episodes have four components: the infant's initial signal, the mother's comprehension failure, infant repairs and episode outcome. Changes in these components provide much information about how infants' communicative skills evolve during the transition to a linguistically based communication system. Negotiation episodes are contrasted with episodes called IMMEDIATE SUCCESSES in which the mother readily comprehends the intent behind the infant's signal, and MISSED ATTEMPTS in which the mother fails to pick up on the infant's signal. Taken together these three types of communicative episode reveal a degree of persistence and creativity on the part of the preverbal infant that is surprising in the light of prior research. Such episodes further reveal that the course of preverbal communication is NOT smooth.

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Hipwell, A. E., und R. Kumar. „Maternal Psychopathology and Prediction of Outcome Based on Mother-Infant Interaction Ratings (BMIS)“. British Journal of Psychiatry 169, Nr. 5 (November 1996): 655–61. http://dx.doi.org/10.1192/bjp.169.5.655.

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BackgroundVery little is known about the adequacy and safety of maternal parenting behaviour in the context of severe postpartum psychiatric illness, about specific difficulties in relation to different types of mental illness, or about the potential for improvement over the course of an episode of illness. The Bethlem Mother–Infant Interaction Scale (BMIS) was thus developed as an aid to assessment on a specialist psychiatric Mother and Baby Unit.MethodNurses' ratings of the quality of mother–infant interaction using the BMIS were collected throughout the consecutive admissions of 78 in-patient pairs. The ratings from three points during the admissions were examined according to the mothers' RDC diagnoses and also according to the eventual outcome of the admission.ResultsThe nature of the mother's illness was associated with the quality of her infant care-taking using the BMIS ratings. The nurses' ratings during the second week of admission together with maternal psychiatric diagnosis, were strongly predictive of the eventual outcome of the admission. The majority of women who were separated from their infants on discharge or who required formal supervision belonged to the schizophrenic group.ConclusionsThe results suggest that the BMIS can be used in this in-patient setting to aid clinical decisions about the safety of parenting by individual mothers with severe mental illness in the postpartum period.

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