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Journal articles on the topic 'African drama (French) Theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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1

Sanko, Hélène. "Considering Molière in Oyônô-Mbia's Three Suitors: One Husband." Theatre Research International 21, no. 3 (1996): 239–44. http://dx.doi.org/10.1017/s0307883300015352.

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Juxtaposed these quotations, which are separated by three centuries and two continents, suggest that seventeenth-century classical French drama serves as a model for African theatre of the early post-colonial period. The first quotation is, of course, from Moliere, the Old Regime's brilliant comic writer. The second is taken from a play by Oyônô-Mbia, a contemporary dramatist from Cameroon. Given the powerful grip France held over its colonies, it is not surprising to find residual influence of France's theatrical culture on African drama. By the end of World War One, French authority in sub-S
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2

Jones, Bridget. "Two Plays by Ina Césaire: Mémoires d'Isles and L'enfant des Passages." Theatre Research International 15, no. 3 (1990): 223–33. http://dx.doi.org/10.1017/s030788330000969x.

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In any consideration of theatre in the French Caribbean, the name Césaire is bound to be mentioned. Aimé Césaire's La Tragédie du roi Christophe (1963) is the most widely- known play in French by a black dramatist, and is now even in the repertoire of the Comédie-Française, and his plays figure widely in checklists of ‘African’ theatre. A revealing contrast can be made between the epic dramas of Aimé Césaire, written for an international audience, especially the newly independent black nations of the 1960s, and the work of his daughter, Ina. He tackles from the standpoint of Négritude major th
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3

Conteh-Morgan, John. "African Traditional Drama and Issues in Theater and Performance Criticism." Comparative Drama 28, no. 1 (1994): 3–18. http://dx.doi.org/10.1353/cdr.1994.0000.

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4

Goncharova, E. I. "P.P. Pertsov and gazeta «Novoye vremya» (1898–1901) (New aspect of creative biography)." Solov’evskie issledovaniya, no. 3 (September 30, 2020): 157–68. http://dx.doi.org/10.17588/2076-9210.2020.3.157-168.

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The article examines the early stage of cooperation between the writer and philosopher P.P. Pertsov and the conservative newspaper Novoe Vremya (1868–1917). Fragments of Pertsov's archival correspondence with the philosophical writer V.V. Rozanov, Pertsov's father and the critic of the liberal magazine «Russian wealth» A.G. Gornfeld are partially introduced into scientific circulation. The author analyzes the reasons for Pertsov's difficult attitude to the publisher and editor of Novoye Vremya, the playwright and founder of the Maly theater in St. Petersburg, A.S. Suvorin. The author substanti
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5

Yun, Shang. "«African» by J. Meyerbeer and the traditions of the 19th-century French musical theater." Almanac "Culture and Contemporaneity", no. 1 (November 23, 2018): 318–24. http://dx.doi.org/10.32461/2226-0285.1.2019.181116.

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6

Ванг Юй. "БАГАТОВИМІРНІСТЬ ВТІЛЕНЬ СЮЖЕТУ ТУРАНДОТ В ЖАНРІ ТЕАТРАЛЬНОЇ МУЗИКИ". World Science 3, № 3(43) (2019): 34–44. http://dx.doi.org/10.31435/rsglobal_ws/31032019/6419.

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 The article deals with the historical projection of the 300-year-old path of the Turandot image in the genre of theatrical music. After completing all the stages of European exoticism in Chinese subjects, Turandot was embodied in the main stages of the development of musical drama - from the baroque French Fair Theater Fory Saint-Lauren (Le Sage / d'Orneval for the first time analyzed music by J.C. Gillіer) through the pre-classical model of Italian folk (K. Gozzi) to the concept of German romanticism (F. Schiller ‒ F. Destush, K.M. Weber, W. Lyahner), oriental read
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7

Frantzen, Allen J. "DRAMA AND DIALOGUE IN OLD ENGLISH POETRY: THE SCENE OF CYNEWULF'SJULIANA." Theatre Survey 48, no. 1 (2007): 99–119. http://dx.doi.org/10.1017/s0040557407000385.

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InThe Semiotics of Performance, Marco de Marinis notes that the field of performance studies has greatly expanded the traditional categories of drama and theatre. “It is obvious,” he writes, “that we are dealing with a field that is far broader and more varied than the category consisting exclusively oftraditional stagings of dramatic texts, to which some scholars still restrict the class of theatrical performances.” A few scholars of early theatre history have embraced expanded categories of performance. Jody Enders's “medieval theater of cruelty,” for example, rests on a concept of “atheoryo
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8

Kropacheva, Kseniya Aleksandrovna. "The establishment of literary canon of French dramaturgy of the XVI century." Litera, no. 10 (October 2020): 1–7. http://dx.doi.org/10.25136/2409-8698.2020.10.33800.

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This article reviews gradual development of the literary canon of French theater of the Renaissance Era, which in many ways predetermined the emergence and further evolution of classicistic dramaturgy. The subject of this research is the principles of dramaturgical art formulated by the poets and theoreticians of the XVI century within the framework of poetic texts and treatises. The goal consists in description of the stages in establishment of the theatrical canon in France of the Renaissance Era, juxtapose its principles to the medieval theater, determine to which stage is attributed the em
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ÜNEY, Muharrem. "A Theatre of a History: Major Themes in Early African-American Theater and their Relations with the History." International Journal of Social, Political and Economic Research 7, no. 4 (2020): 1023–39. http://dx.doi.org/10.46291/ijospervol7iss4pp1023-1039.

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Although it is not the first literary type that comes to mind related to African-American literature, the drama has become an important form of black self-expression. The black theater, modernized with time and adapted to the popular formats of the era, has achieved rapid development in the after-slavery period. The Harlem Renaissance was especially a booming era in this respect. This genre sometimes appears as a reinterpretation of the classics like Shakespeare's works with a black point of view, but most often it appears as exclusive works, belonging to, and produced for black people. Black
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Czubińska, Małgorzata. "Sposoby wykorzystania napisów scenicznych jako metody przekładu spektakli teatralnych w trakcie Malta Festival Poznań 2017." Investigationes Linguisticae 39 (May 31, 2019): 31–45. http://dx.doi.org/10.14746/il.2018.39.3.

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As a result of the internationalization of theatrical art and the development of modern technologies, surtitles are currently one of the most frequently used methods of theater translation. The diversity of solutions currently proposed by theaters around the world entails the necessity of development of the common rules of the creation of surtitles. This role is to be fulfilled by the French rulebook prepared by the by the drama institute Maison Antoine Vitez, entitled "Guide du sur-titrage au théâtre" (Bataillon, Muhleisen, Diez, 2016). The following analysis is based on examples of the use o
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11

Garner, Stanton B. "History in the Year Two: Trevor Griffiths's Danton." New Theatre Quarterly 11, no. 44 (1995): 333–41. http://dx.doi.org/10.1017/s0266464x00009313.

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For British dramatists nurtured in and by the hopes for socialism which characterized the 'sixties and the 'seventies, the Thatcherite period – with the eclipse of a fatally flawed communist system as its international dimension – demanded not only new thinking, but at least the consideration of a new dramaturgy. Stanton B. Garner, Jr., here explores the ways in which one of the most consistently committed of contemporary writers, Trevor Griffiths, confronts in Hope in the Year Two, his play about the death of the French Revolutionary Danton, the dilemma not only of the revolutionary hero, but
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12

Branger, Jean-Christophe. "A Reading of Massenet’s Esclarmonde by Chabrier: How Should French Composers Respond to Wagnerian Music Drama?" 19th-Century Music 42, no. 2 (2018): 96–122. http://dx.doi.org/10.1525/ncm.2018.42.2.96.

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At the time of the 1889 world premiere of Massenet’s Esclarmonde, Emmanuel Chabrier copiously annotated a copy of the piano-vocal score of this opera, which is considered, despite its unique features, one of the most Wagnerian works of the author. This remarkable and little-known document allows us once again to investigate the challenges of musical creation in a period when all dramatic composers were obliged to position themselves in relation to Wagner, particularly in France where lively debates were taking place between supporters and detractors of the master of Bayreuth. This new source a
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13

Hassan, Waïl S. "Oyono in Arabic." PMLA/Publications of the Modern Language Association of America 128, no. 1 (2013): 127–32. http://dx.doi.org/10.1632/pmla.2013.128.1.127.

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A rendition by nayif kharma of michael etherton's theatrical adaptation of john reed's english translation, the arabic version of Ferdinand Oyono's novel Une vie de boy is at three removes from the original French. Under the title Al-khādim (“The Servant”), the play appeared in 1982 in the series Min al-masrah al-'ālami (“From World Theater”), published by Kuwait's Ministry of Culture. Since to all effects and purposes Etherton's theatrical adaptation is Kharma's original, it is necessary to begin by describing how the Zambian-born British writer who taught drama at the University of Zambia in
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14

Myunghwa Kim. "The Study on the Reception of Contemporary French Drama in Korean Female theater - Focusing on the Activities of Theatre Company Sanwoollim." Journal of korean theatre studies association 1, no. 60 (2016): 195–228. http://dx.doi.org/10.18396/ktsa.2016.1.60.006.

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15

Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.

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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wa
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KNÖDLER, STEFAN. "Initialzündung der europäischen Romantik. : Zur frühesten Rezeption von August Wilhelm Schlegels Vorlesungen ,,Ueber dramatische Kunst und Litteratur“ im Kreis von Coppet sowie bei Stendhal und Charles Nodier." Zeitschrift für Germanistik 29, no. 2 (2019): 249–64. http://dx.doi.org/10.3726/92165_249.

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Abstract Die Übersetzung von August Wilhelm Schlegels Vorlesungen Ueber dramatische Kunst und Litteratur machte das französische Publikum 1814 erstmals mit den Ideen der deutschen Romantik bekannt. In den Äußerungen der Übersetzer und ersten Leser im Kreis von Coppet um Germaine de Staël sowie der ersten Rezensenten Stendhal und Charles Nodier werden die Schwierigkeiten der französischen Leser sowohl mit Schlegels heftiger Kritik am klassischen Theater des Landes wie auch mit dem Begriff des ,Romantischen‘ deutlich. Die Argumente der Befürworter wie Gegner sollen auch die Debatte der folgenden
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17

Browder, Laura. "Sheep Hill Memories, Carver Dreams: Creating a Living Newspaper Today." Public Historian 26, no. 2 (2004): 73–80. http://dx.doi.org/10.1525/tph.2004.26.2.73.

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In November 2000, the living newspaper drama Sheep Hill Memories, Carver Dreams premiered to packed houses at Virginia Commonwealth University (VCU) in Richmond. This documentary play concerns the history and survival of Carver, a historically African- American working-class community bordering VCU which was being threatened by the university’s planned expansion. Performed by a Carver-based theater group with a twenty-seven-year history, in collaboration with TheatreVCU, Sheep Hill Memories, Carver Dreams was the outcome of a two-year collaboration between a grass-roots community organization
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18

Kornienko, Alina. "Le Sous-Psychodrame : une nouvelle forme dramatique de Jean-Luc Lagarce." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (2021): 199–215. http://dx.doi.org/10.24193/subbdrama.2021.1.11.

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"The Sub-Psychodrama: a New Dramatic Form by Jean-Luc Lagarce. It is exactly by a neologism of a “sub-psychodrama” that the playwright and French director Jean-Luc Lagarce (1957-1995) defined one of his plays. The similarities between psychodramatic practices and Lagarce’s dramatic works are obvious. As in the context of psychodramatic practice, Lagarce’s characters take on roles and identify with them from a carnal as well as linguistic point of view. The situation in which Lagarce’s characters meet is very close to that which is, among others, treated by psychodramatists: the dialogue is not
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19

Vandenbroucke, Russell. "Violence Onstage and Off: Drama and Society in Recent American Plays." New Theatre Quarterly 32, no. 2 (2016): 107–20. http://dx.doi.org/10.1017/s0266464x16000026.

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Direct and bloody violence has a long history on stage. In recent years, a different mode of violence can be distinguished in the work of prominent American playwrights – less direct than indirect, more covert than overt, and likely to affect a group rather than individuals. In this article Russell Vandenbroucke applies concepts from Norwegian sociologist and Peace Studies scholar Johan Galtung to examine structural and cultural violence in Suzan-Lori Parks's Father Comes Home from the Wars (Parts 1, 2, & 3) and traces similar representations of violence in Anna Deavere Smith's Fires in th
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20

Kaczmarek, Tomasz. "Intimité de Jean-Victor Pellerin, ou à la recherche du « théâtre du silence »." Quêtes littéraires, no. 7 (December 30, 2017): 114–22. http://dx.doi.org/10.31743/ql.164.

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Jean-Victor Pellerin was a representative author of the „school of silence” or, as some called it, „art of unexpressed”, in which emotions are implied in gestures, fragments of speach, and silence. In his first drama Intimacy (1922) the French playwrighter presents a bourgeois marriage living a monotonous life. The characters discuss trivial things of everyday life, they talk to each other, but there is no communication between them, because each of them is closed in their own world. Nobody is listening one another and words are spoken only in order to fill their existential emptiness. The wri
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Che, Suh Joseph. "Hibridization, Linguistic and Stylistic Innovation in Cameroonian Literature and Implications for Translation." Studies in Linguistics and Literature 3, no. 2 (2019): p165. http://dx.doi.org/10.22158/sll.v3n2p165.

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Drawing from Cameroonian drama written in French and translated into English, this paper demonstrates how Cameroonian literature written in European languages and translated into other European languages is characterized by linguistic and stylistic innovation. It examines the reasons and motivations underlying this phenomenon, first from the perspective of the ambivalent situation of the Cameroonian and African writer writing not in his native language but rather in a European language, and secondly in the light of the prevailing literary creative trend and attitude of Cameroonian and, indeed,
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22

Caponi-Doherty, Gabriella. "Dramatic Interactions: Teaching Languages, Literatures and Cultures through Theater—Theoretical Approaches and Classroom Practices, edited by Colleen Ryan and Nicoletta Marini-Maio." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (2012): 88–90. http://dx.doi.org/10.33178/scenario.6.2.9.

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This rich collection of essays is an apt follow up to the excellent previous volume on theatre and language pedagogy – Set the Stage! Teaching Italian through Theater. Theories, Methods, and Practices – published by the two co-editors - Colleen Ryan (Indiana University) and Nicoletta Marini-Maio (Dickinson College) – in 2009. While the previous volume was intended specifically to offer resources to teachers and students to help them incorporate the Italian theatre tradition into the language curriculum, this new collection seeks to confirm the effectiveness of using theatre for foreign languag
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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.

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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and
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Braider, Christopher. "The Veritable Véritable Saint Genest: Tragedy and Martyr Play in Jean Rotrou." Modern Language Quarterly 79, no. 1 (2018): 25–52. http://dx.doi.org/10.1215/00267929-4264258.

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Abstract Students of seventeenth-century French drama offer oddly truncated readings of Jean Rotrou’s Véritable Saint Genest. Fascinated by the play within a play in which the eponymous saint is converted to a Christian martyr’s faith by performing a Christian martyr’s role, scholars focus on acts 2 through 4, where the play in question is rehearsed and staged. However, overlooking the frame in acts 1 and 5, where the subject of the interior play is chosen and the problematic consequences of the actor’s conversion are laid out, obscures Rotrou’s true theme, which is neither of those convention
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Einman, Maria. "« Ce n’est pas un livre, mais une pièce de théâtre… » : la lecture de Harry Potter et l’enfant maudit par les utilisateurs du réseau social littéraire Babelio." Interlitteraria 23, no. 1 (2018): 189–202. http://dx.doi.org/10.12697/il.2018.23.1.19.

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“It’s not a book, it’s a play… ”: Harry Potter and the Cursed Child Read by the Users of Babelio, a Social Network for Book Readers. On the 31st of July 2016, Harry Potter and the Cursed Child, a play written by Jack Thorne in collaboration with J. K. Rowling and John Tiffany, was performed for the first time at the Palace Theatre in London. On the same day, the bookshops of Great Britain were literally invaded by the young wizard’s fans, whom were curious to know what happens next to their favorite heroes. Thereby, The Cursed Child is a play, not only to be performed, but also – and mostly –
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Faniran, Keji Felix. "Analysis of Linguistic Features in the French Translation of Osofisan’s Once Upon Four Robbers." Journal for Foreign Languages 12, no. 1 (2020): 27–42. http://dx.doi.org/10.4312/vestnik.12.27-42.

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From the onset, a linguistic feature is often one of the essential tools in analysing a literary work, and obviously it is sine qua non in translation studies. Many studies have been done on Osofisan’s Once Upon Four Robbers but the issue of translations made by non-Yoruba native speaker where the material contains Yoruba cultural items is a contentious one. Once Upon Four Robbers (1980) was translated by Nicole Medjigbodo (2003). The study employs descriptive and comparative research methods in analysing random data taken from the source and target texts. We adopt Seleskovitch and Lederer’s i
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Crow, Brian. "Soyinka and his Radical Critics: A Review." Theatre Research International 12, no. 1 (1987): 61–73. http://dx.doi.org/10.1017/s0307883300013304.

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The volume of critical writing on the theatre of Wole Soyinka both in Nigeria and abroad indicates his unrivalled pre-eminence among African play wrights. His work is still not as well known in the West as it should be, though his plays do occasionally get performed, especially in the USA, and it is encouraging that six of them have recently been published in one volume in the Methuen ‘Master Playwrights’ series. If cultural chauvinism is at least partly to blame for ignorance of the Third World's leading dramatist, there is also a genuine problem of access to a writer whose work is ‘difficult
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Mikusi, Balázs. "Minerva’s Hat and the Emperor’s Tailcoat: August Adelburg’s Cosmopolitan “National Opera” Zrínyi." Studia Musicologica 52, no. 1-4 (2011): 65–83. http://dx.doi.org/10.1556/smus.52.2011.1-4.5.

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Born to a Croatian father in Constantinople and educated in Vienna, August Adelburg (1830–1873) was a true cosmopolitan. His explicitly “national opera” about Miklós Zrínyi (c1508–1566), a Hungarian national hero of Croatian origins, was premiered in Hungarian translation on 23 June 1868 in the National Theater in Pest. The libretto (originally in German, and adapted by the composer from a drama by Theodor Körner) includes a preface that adumbrates a wholesale theory of cosmopolitanized national opera, as it were. Elaborating his views as expressed in his 1859 essay against Liszt’s On the Gyps
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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.

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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. S
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Margolin Lerman, Zafra. "Making Science Education Accessible to All." Aula Abierta 46, no. 2 (2017): 13. http://dx.doi.org/10.17811/rifie.46.2.2017.13-16.

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ABSTRACTMany students shy away from science. In order to attract students into studying science, creative methods for teaching and learning were developed for all levels of education, from primary school to university, and from formal to informal settings. These methods utilize the students’ talents, hobbies, interests and cultural backgrounds. Equal access to science education is a human right that belongs to all [1, 2]. If we do not guarantee science education to all, we will form a two-class society divided not by royalty and status, but by knowledge of science. The centerpiece for this met
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Margolin Lerman, Zafra. "Making Science Education Accessible to All." Aula Abierta 46 (July 25, 2017): 13. http://dx.doi.org/10.17811/rifie.46.2017.13-16.

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ABSTRACTMany students shy away from science. In order to attract students into studying science, creative methods for teaching and learning were developed for all levels of education, from primary school to university, and from formal to informal settings. These methods utilize the students’ talents, hobbies, interests and cultural backgrounds. Equal access to science education is a human right that belongs to all [1, 2]. If we do not guarantee science education to all, we will form a two-class society divided not by royalty and status, but by knowledge of science. The centerpiece for this met
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari
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Lambert, J. Eve. "Christianity, Community, and African American TheaterCraig R. Prentiss, Staging Faith: Religion and African American Theater from the Harlem Renaissance to World War II. New York and London: New York University Press, 2014. Pp. 256. Cloth $79.00. Paper $25.00.Macelle Mahala, Penumbra: The Premier Stage for African American Drama. Minneapolis and London: The University of Minnesota Press, 2013. Pp. 203. Cloth $60.00. Paper $19.95." Journal of African American History 100, no. 2 (2015): 301–8. http://dx.doi.org/10.5323/jafriamerhist.100.2.0301.

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Newey, Katherine, Barbara Lewis, and Paula R. Backscheider. "Reviews: Unknown London: Early Modernist Visions of the Metropolis, 1815–45., Resistance, Parody, and Double Consciousness in African American Theatre, 1895–1910., the Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender, and Class in African American Theatre, 1900–1940., African American Performance and Theater History: A Critical Reader., Women in British Romantic Theatre: Drama, Performance, and Society, 1790–1840." Nineteenth Century Theatre and Film 30, no. 2 (2003): 87–99. http://dx.doi.org/10.7227/nctf.30.2.6.

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Matzke, Christine. "Duro Ladipo: Thunder-God on Stage. By Remi Raji-Oyelade, Sola Olorunyomi, and Abiodun Duro-Ladipo. 2nd edition. Ibadan: IAS (Institute of African Studies), University of Ibadan & IFAnet Editions, 2008 (2003); 207 pp. Nigerian Naira 1200 paper. Ngũgĩ wa Thiong'o's Drama and the Kamĩrĩĩthũ Popular Theater Experiment. By Gĩchingiri Ndĩgĩrĩgĩ. Trenton: Africa World Press, 2007; 308 pp. $29.95 paper." TDR/The Drama Review 53, no. 2 (2009): 158–61. http://dx.doi.org/10.1162/dram.2009.53.2.158.

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Kaczmarek, Tomasz. "La Figurante de François de Curel. Comédie des apparences ou jeu de rôles." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures, August 27, 2021. http://dx.doi.org/10.1075/rro.20014.kac.

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Abstract François de Curel, mistakenly regarded as an author of the “problem play”, enjoyed a reputation of an innovator in dramaturgy during his lifetime. By rejecting the canonical form of the drama, he proposes works in which psychological analysis prevails over the dramatic progression of the action. In fact, in La Figurante, the French writer paints a portrait of the characters who resemble “marionettes” operated by unknown forces. In order to survive in bourgeois society, they assume the “masks” that social conventions demand of them and conscientiously play the comedy. However, under th
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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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 Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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Haller, Beth. "Switched at Birth: A Game Changer for All Audiences." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1266.

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The American Broadcasting Company (ABC) Family Network show Switched at Birth tells two stories—one which follows the unique plot of the show, and one about the new openness of television executives toward integrating more people with a variety of visible and invisible physical embodiments, such as hearing loss, into television content. It first aired in 2011 and in 2017 aired its fifth and final season.The show focuses on two teen girls in Kansas City who find out they were switched due to a hospital error on the day of their birth and who grew up with parents who were not biologically relate
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Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl
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McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an
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Lavers, Katie. "Cirque du Soleil and Its Roots in Illegitimate Circus." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.882.

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IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists prese
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Lord, Catherine M. "Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1370.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, scho
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