Journal articles on the topic 'Contemporary play adaptation'
To see the other types of publications on this topic, follow the link: Contemporary play adaptation.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Contemporary play adaptation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Eglinton, Mika. "Metamorphoses of “Shakespeare's Lost Play”: A Contemporary Japanese Adaptation ofCardenio." Shakespeare 7, no. 3 (September 2011): 335–43. http://dx.doi.org/10.1080/17450918.2011.589064.
2
Versényi, Adam. "Ritual Meets the Postmodern: Contemporary Mexican Theatre." New Theatre Quarterly 8, no. 31 (August 1992): 221–25. http://dx.doi.org/10.1017/s0266464x00006849.
Abstract:
Adam Versényi here considers responses to the call for a new kind of Latin American theatre, combining anthropological awareness of the area's history and culture with the technical abilities and thematic sophistication of western theatre, through an analysis of two plays which suggests both the benefits and pitfalls of such an approach. These are Nahui Ollin, a shadow-puppet play dramatizing episodes from Nahuatl cosmogeny, and Los enemigos, a contemporary adaptation of the unique Mayan script, the Rabinal Achí. Adam Versényi has written widely on the theatre of Latin America, including a study of recent developments in liberation theology and liberation theatre, and for NTQ two articles on earlier periods – in NTQ16 (1988), on the theatricality of pre-Columbian performance rituals, and in NTQ19 (1989) on the adaptation of Aztec rituals by the mendicant friars who came in the wake of Cortés – this piece being selected as the ‘Younger Scholar's Prizewinning Article’ of the year by the American Society for Theatre Research.
3
Klein, Emily. "Seductive Movements in Lysistrata and Spike Lee’s Chi-Raq: Activism, Adaptation, and Immersive Theatre in Film." Adaptation 13, no. 1 (April 19, 2019): 59–76. http://dx.doi.org/10.1093/adaptation/apz011.
Abstract:
Abstract This article investigates how Spike Lee’s 2015 Lysistrata adaptation, Chi-Raq, reaches beyond the screen—‘in excess’ of its medium—by using the techniques of immersive theatre to revive Aristophanes’ classical plot as well as his urgent call to citizenly collective action (McGowan, Todd. Spike Lee. Champaign, IL: University of Illinois Press, 2014). Lee’s seductive activist fairytale in rhyming verse imagines a worldwide sex strike led by Chicago’s women of colour. Like its Classical predecessor, the film both critiques and reinforces the spectacular objectification of female bodies; that tension is always in play, even as it successfully brings about a peace treaty between two warring Englewood gangs. To explore this and other socio-political tensions, Lee’s film employs many of the ‘physical, sensual and participatory’ elements that Josephine Machon understands as central to immersive performance (Machon, Josephine. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. London: Palgrave Macmillan, 2013. xv). Crucial to this immersive adaptation is Lee’s transgressive coordination of sight, touch, and sound to aptly update Lysistrata’s acts of refusal as deeply gendered and racialized calls for intimate justice. In effect, audiences learn, move, chant, yearn, and envision a better world alongside the characters in the film. As a result, the goals of Chi-Raq are achieved in ways that are both more compellingly relevant and more radical than any other contemporary Lysistrata adaptation in recent memory.
4
Sharif, Muhammad Muazzam, Zubair Shafiq, and Umtul Ayesha. "“For Murder, though have no Tongue, will Speak”, Hamlet Speaks for the Contemporary Problems around the Word." Global Social Sciences Review III, no. IV (December 30, 2018): 309–19. http://dx.doi.org/10.31703/gssr.2018(iii-iv).20.
Abstract:
People from different countries reshape and revise Hamlet to suit their situations and alter their personalities accordingly. Hamlet highlights issues in political, moral, social and cultural spheres of a country. Shakespeare’s Hamlet attracts the minds of readers to the extent that they establish a link with their unconscious minds; thus resulting in an empathetic connection between readers, characters and the adapters. This paper offers an analysis of the different adaptations of Shakespeare’s Hamlet in some countries. It delineates the link between Hamlet and its adaptations, particularly Haider –an Indian adaptation. This paper compares Hamlet and Haider and draws parallels between the two in order to highlight and address contemporary problems especially that of conflict between Pakistan and India over Kashmir. This paper talks about Haider that successfully created the desired impact which should be the purpose of an adapted play. Essentially qualitative in nature, this paper uses the lens of Linda Hutcheon –Theory of Adaptation- to conduct textual analysis.
5
Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (September 1, 2018): 196–204. http://dx.doi.org/10.3167/ej.2017.510226.
Abstract:
Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
6
Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (September 1, 2018): 196–204. http://dx.doi.org/10.3167/ej.2018.510226.
Abstract:
Abstract Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
7
Hamana, Emi. "This Is, and Is Not, Shakespeare: A Japanese-Korean Transformation of Othello." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 179. http://dx.doi.org/10.14198/raei.2012.25.14.
Abstract:
The purpose of this paper is to address the critical impact of local Shakespeare on global Shakespeare by examining a Japanese-Korean adaptation of Othello. Incorporating elements of Korean shamanistic ritual and elements from Japanese noh to create a new reading of Shakespeare’s play with its special concern with Desdemona’s soul, the two theatres interact powerfully with each other. Local Shakespeare functions as a cultural catalyst for the two nations vexed with historical problems. By translating and relocating Shakespeare’s Othello in East Asia, the adaptation succeeds in recreating Shakespeare’s play for contemporary local audiences. In considering the adaptation, this paper explores the vital importance of local Shakespeare and local knowledge for the sake of global Shakespeare as a critical potential. The adaptation might evoke a divided response among a non-local audience. While on the one hand, it attempts to create an ‘original’ production of the Shakespeare play through employing the two Asian cultures, on the other, it employs the Shakespeare play as a conduit for their cultural exchange. This is, and is not, Shakespeare. The paper finally suggests that for all this ambivalence, the adaptation shows some respectful, if unfamiliar, feelings that could be shared by many people around the globe.
8
Groeneveld, Leanne. "Modernist Medievalism and the Expressionist Morality Play: Georg Kaiser’s From Morning to Midnight." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 81–101. http://dx.doi.org/10.2478/ausfm-2019-0005.
Abstract:
Abstract This article examines the modernist medievalism of Georg Kaiser’s From Morning to Midnight (Von morgens bis mitternachts), discussing the influence of the morality play genre on its form. The characterization and action in Kaiser’s play mirrors and evokes that of morality plays influenced by and including the late-medieval Dutch play Elckerlijc and its English translation as Everyman, in particular Hugo von Hofmannsthal’s Jedermann, first produced in Berlin in 1911. The medievalism of Kaiser’s play is particularly evident when it is compared to Karl Heinz Martin’s film version of the text, produced in 1920. The play’s allegory and message, though contemporary, are less specifically historically contextual than the film’s, while its central protagonist is more representative of generic capitalist subjectivity. The detective film shapes Martin’s adaptation, obscuring the morality play conventions and therefore medievalism of Kaiser’s earlier text.
9
Reichmann, Brunilda Tempel. "“Tá dificil competir": Adaptação da trilogia de Michael Dobbs, House of Cards, pela BBC e pela Netflix." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 213–34. http://dx.doi.org/10.5007/2175-8026.2019v72n1p213.
Abstract:
This paper presents a reading of the political trilogy House of Cards, To Play the King e The Final Cut, by Michael Dobbs, an English writer; and their adaptation by the BBC and Netflix series. I try to demonstrate how novelists, script writers and directors of series celebrate the unparalleled art of Shakespeare by reworking themes, updating contexts and rebuilding personality traits of his unforgettable characters. In short, this text aims to analyze the series and to recover some of the genetic characteristics of Shakespeare’s plays in contemporary artistic/mediatic production.
10
Shibarshina, Svetlana. "New Trading Zones in Contemporary Universities." Philosophy of the Social Sciences 49, no. 6 (August 2, 2019): 510–27. http://dx.doi.org/10.1177/0048393119864697.
Abstract:
This article aims to distinguish and depict the features of communications and collaborations in contemporary universities through the concept of trading zones. The author also considers the role that the idea of a digital university might play in shaping interactions in transforming local context where different actors can find a common ground of exchange. The new contexts, including the pragmatic orientation of contemporary society and new technologies and environments, contribute to reconsidering the idea of the classical university, in which interactions between professors and students have outstepped customary collaborations in laboratories, as well as the idea of education and research integration. This article focuses on distinguishing new forms of interactions, boundary practices, and environments, which are suggested by today’s universities. Proceeding from them, the author argues that new concepts of the university, such as the digital university, and renovated campuses—to some extent—contribute to the adaptation of a renewed idea of Humboldt’s Bildung.
11
Kozlovskaya, Angelina. "“Let’s Pretend You Took Freddy’s Mask Off”: Communicative Strategies and Agency Redistribution in Digitally-informed Children’s Pretend Play." Antropologicheskij forum 16, no. 45 (2020): 116–56. http://dx.doi.org/10.31250/1815-8870-2020-16-45-116-156.
Abstract:
The paper addresses the issue of children’s play within a contemporary digital environment. Building on data collected through participant observation at an afterschool club for primary-school children, the article analyzes digitally-informed pretend play in which the plot and the rule-structure of the “Five Nights at Freddy’s” game have been employed as a resource. Andrew Burn’s scheme for the analysis of computer games’ adaptation to the playground and the sociolinguistic classifications of children’s speech patterns used in a pretend play serve as a conceptual framework for this study. An examination of the way children deploy media-references in their play provides evidence for children’s creative meaning-making and their ability to collectively rethink and adjust media-texts to the actual playground context, as well as to their own play goals and needs—while also relying on cultural resources of different kinds. More importantly, the structural borrowing from a digital game and its adaptation to a pretend play gives participants more opportunities to perform agentive acts than they have otherwise; both compared to the original digital game and “wholly original” pretend play. Agency is realized by using specific verbal structures (“you utterances”). These results contradict the adults’ common concerns about children being passive and not imaginative in the process of consuming digital games.
12
Hsieh, Hsiao-mei. "In the name of Shakespeare." Cultural China in Discursive Transformation 21, no. 2 (July 5, 2011): 319–29. http://dx.doi.org/10.1075/japc.21.2.09hsi.
Abstract:
, also known as classical Chinese opera or sung drama, had been the major entertainment in the traditional Chinese society. In Taiwan, Beijing opera as ‘National Drama’ had long enjoyed resources far more than other xiqu genres. However, with the rapid transformation of socioeconomic structure, xiqu experienced drastic decline in audience in the face of Western culture. The call for a “modernized” xiqu became imperative. Under such circumstances, the Contemporary Legend Theater company (CLT) came to the fore. It was founded by a Beijing opera practitioner Wu and his wife Lin, a modern dancer. The debut Kingdom of Desire in 1986, adapted from Macbeth, stirred great excitement in Taipei, and later the play toured around the world. While displaying the legacy of xiqu performance, the couple aimed to go beyond the boundary of Beijing opera and search for a new genre that can reach a wider audience. Their subsequent productions are also adaptations of Western canonical plays, such as Medea, the Oresteia and King Lear. While the marketing strategy of the CLT often stresses jingles such as “When the East meets the West,” intercultural performance as such reveals a double consciousness of the performers, who see themselves through the eyes of the (Western) others. The paper attempts to discuss the meaning of Shakespeare in the CLT’s intercultural adaptations and further examine the politics hidden behind this phenomenon of intercultural adaptation in Taiwan. I explore if such seemingly self-orientalizing adaptation contains resistance to globalization.
13
Gualberto, Rebeca. "Adaptation against Myth: Gary Owen’s Iphigenia in Splott and the Violence of Austerity." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 119. http://dx.doi.org/10.14198/raei.2021.35.06.
Abstract:
This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen’s 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and dehumanisation of the British working class, this study probes the dramatic and mythical artefacts in Owen’s harrowing monologue by looking back to Euripides’s Iphigenia in Aulis, the classical play which inspires the title of Owen’s piece and which serves as the mythical and literary background for the story of Effie. The aim is to demonstrate how Owen’s innovative adaptation of the sacrifice of Iphigenia, slurred out in verse, resentful and agonising, speaks out a desperate plea against myth, that is, against a dominant social ethos that legitimises its own violence against the most vulnerable—those who, as in the classical myth, suffer the losses that keep our boats afloat.
14
Young, Stuart. "The state of the British garden: Mike Bartlett’s Albion and its Chekhovian scions." Journal of Adaptation in Film & Performance 14, no. 2 (July 1, 2021): 209–32. http://dx.doi.org/10.1386/jafp_00054_1.
Abstract:
Mike Bartlett’s Albion (2017) is a highly sophisticated and illuminating instance of the diversity and complexity of adaptation. Although declaring no explicit relationship to informing source texts, amongst myriad intertextual allusions Albion manifests an engagement with Chekhov’s drama that abundantly affords adaptation’s pleasures. As well as deploying the principal hallmarks and strategies of Chekhovian dramaturgy, Bartlett reconfigures in Brexit Britain scenarios, characters and relationships from The Seagull and The Cherry Orchard. Moreover, demonstrating the thoroughness with which the English have appropriated and naturalized Chekhov, Bartlett implicitly challenges cardinal assumptions of that domestic tradition, through his nuanced subversion of both the ‘country-house’ and ‘state-of-the-nation’ play. Consequently, he reveals adaptation as a richly dialogic process, in which source and adapted texts shed light on each other. The politics of dramatic form(s) and of cultural adaptation and appropriation, to which Bartlett’s revision of a preeminent part of English dramatic heritage points, deftly parallel, and function as an analogue for, the conservative heritage enterprise that Albion portrays. Highlighting the longstanding association of the countryside and landscape with English cultural identity, the protagonist’s project of restoring an historic country garden to its former grandeur is laden with especial significance at this contemporary moment of national crisis.
15
Arakkal, Rinshila. "From Birnamwood to Bollywood: A View of the Cinematographic Adaptation of Macbeth into Maqbool." International Journal of English and Comparative Literary Studies 1, no. 1 (November 22, 2020): 1–20. http://dx.doi.org/10.47631/ijecls.v1i1.144.
Abstract:
Purpose: The study aims to explore the similarities and dissimilarities between William Shakespeare’s Macbeth and its film adaptation Maqbool by Vishal Bhardwaj. The study also aims to compare both the film and the play in terms of politics and power from a psychoanalytic perspective.
Methodology/ Approach: This study is based on thematic analysis and the main changes when the original play is adapted to film, in order to check the variation from stage to screen. Adaptation theory, Sigmund Freud’s psychoanalysis theory are used in this analysis. Bollywood movie Maqbool (2003) by director Vishal Bhardwaj and William Shakespeare’s great tragedy Macbeth (1606) are used as primary sources for this analysis.
Findings: The result of the analysis indicates that film and drama are entirely different. When an original play is adapted into film, there are many merits and demerits.Shakespeare mounded more on poetic language than on spectacle and other scenic devices to create the necessary emotional effect. The Elizabethan theatre gores were more audiences than spectators. But the modern spectators habituated to the computer-generated technique of cinematography expect something considerably different. The result is that when the text of the play is converted into a screenplay, there will be a remarkable reduction in the number of spoken words because mainstream cinema depends for its effect largely on visual rather than dialogue. However, the director maintained the originality of play despite the additions and reductions.
Conclusion: The paper throws light on the main changes from English Renaissance theatre to contemporary modern world or theatre. It depicts the Psychological behavioural differences and the power and political structures of the two different periods. The paper suggests that film adaptation is an effective and attractive tool to maintain the value and to understand the original text.
16
Camati, Anna Stegh. "Intermedial Performance Aesthetics in Patricia Fagundes' A Midsummer Night's Dream." Aletria: Revista de Estudos de Literatura 23, no. 3 (December 31, 2013): 141–56. http://dx.doi.org/10.17851/2317-2096.23.3.141-156.
Abstract:
In A Midsummer Night’s Dream (1594-1595), Shakespeare introduces elements borrowed from court masques, mainly music and dance. After a brief exploration of critical arguments claiming that Shakespeare’s play is the model for musical versions produced during and after the Restoration, this essay investigates the negotiations and shifts of meaning in the homonymous Brazilian adaptation (2006), staged by Cia. Rústica and directed by Patrícia Fagundes. The intermedial processes, articulated in the transposition from page to stage, will be analyzed in the light of contemporary theoretical perspectives.
17
Ilchenko, Sergey Nikolayevich. "«The White Guard» on TV: fascinated by masscult mythology." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 60–67. http://dx.doi.org/10.17816/vgik6160-67.
Abstract:
The article analyzes the television adaptation of the famous novel by Mikhail Bulgakov, shown on Russian television in 2012. The author juxtaposes the TV-series with the renowned Soviet film Days of the Turbins, premiered in 1976. The analysis is carried out in the context of the history of a theatre version of the novel The White guard, staged in the Moscow Academic Art Theatre in the 1920s, that is Days of the Turbins, highly appreciated by Stalin. Traditionally, both theatre and cinema directors were drawn to the play adapted by Mikhail Bulgakov after his novel. Anyhow, there is a certain subject and semantic difference between these two works. The author analyzes the structure of the TV version, its style, elaboration of on-screen characters, based on the literary source and previous interpretation of the play Days of the Turbins. However, the author argues, that ideological and figurative interference into the original, adaptation to the stereotypes of mass culture significantly distort the perception of Bulgakovs works, largely obliged to the writerss mood and emotions experienced in the years of Revolution and Civil war. Concluding, the author pinpoints both - complexity unit of Bulgakovs text adaptation towards contemporary TV, and misjudgements of the TV-series makers in the way of conception and realization.
18
FENG, WEI. "Performing Comic Failure inWaiting for GodotwithJingjuActors." Theatre Research International 42, no. 2 (July 2017): 119–31. http://dx.doi.org/10.1017/s0307883317000256.
Abstract:
Since the 1980s the Taiwanese theatre troupe Contemporary Legend Theatre (CLT) has been devoted to transformingjingjuby way of adapting world classics. Through an analysis of its adaptation of Samuel Beckett'sWaiting for Godot(2005), this article considers how CLT pushes the boundaries ofjingjuacting, which is made up of singing, speaking, dance-acting and combat. To meet Beckett's challenge of performing comic failure, CLT integratesjingjurestraint and Western slapstick. In so doing, CLT liberates the actors’ bodies fromjingjuconventions to produce a new aesthetic, which also gives the original play a new metaphysical interpretation.
19
LI, Xinzhu. "Between Animal and Human: The Evolving “Mouse” in Successive Version of Fifteen Strings of Cash." Cultura 16, no. 2 (January 1, 2019): 151–64. http://dx.doi.org/10.3726/cul022019.0010.
Abstract:
This paper focuses on the change of the image of “mouse” which was transformed from the legend of Fifteen Strings of Cash to the other versions. The legend of Fifteen Strings of Cash, written by Zhu Suchen, was a story of the vindication of defendants in a court case and formed the basis for a series adaptations. The legend of Fifteen Strings of Cash provided a frame of imagination about the image of a “mouse”. Meanwhile, the adaptation of the legend in folk opera provided a more ethical narrative than the original. The folk versions not only strengthened the “evil” of the “mouse”, but also heightened the suffering of innocent scholars. In the contemporary versions after 1949, the “mouse” as an animal disappeared in the story, and Lou Ashu (“shu” means “mouse” in Chinese) became a pure villain in this play, which also symbolized “evil” and pointed to the feudal and backward old society.
20
Chatziprokopiou, Marios. "FROM TESTIMONY TO HETEROGLOSSIA: THE VOICE(S) OF LAMENT IN WE ARE THE PERSIANS!" Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 151–82. http://dx.doi.org/10.32621/acotaciones.2021.46.06.
Abstract:
We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.
21
Martín Párraga, Javier. "Roughing It in the Bush, The Graphic Novel." Revista Canaria de Estudios Ingleses, no. 81 (2020): 321–34. http://dx.doi.org/10.25145/j.recaesin.2020.81.21.
Abstract:
Graphic novels and comic books are no longer minor cultural artifacts which are produced to generate economic benefits, mostly consumed by young, not very literate, readers who do not hope to be educated but simply entertained. Quite on the contrary, authors such as Will Eisner, Art Spiegelman, Alan Moore, Neil Gaiman or Umberto Eco has vindicated the fundamental role these artistic manifestations play nowadays. The present paper analyzes Carol Shields and Patrick Crowe 2016 graphic novel adaptation of Susanna Moodie’s seminal book Roughing it in the Bush. In order to reach this goal, a brief theoretical state of the art is introduced. Consequently, the original writer and text are equally studied. Finally, the contemporary graphic novel adaptation is considered, explaining the genesis of the project as well and the similitudes and differences it shows when compared to the original work by Susanna Moodie.
22
Borisenko, Yulia Aleksandrovna, and Stanislav Sergeevich Makarov. "TRANSLATING DRAMA: ANALYSIS OF DAVID EDGAR’S PLAY “ TESTING THE ECHO”." Russian Journal of Multilingualism and Education 11, no. 1 (December 15, 2019): 78–86. http://dx.doi.org/10.35634/2500-0748-2019-11-78-86.
Abstract:
The article focuses on one of the problems of literary translation - the translation of dramatic texts. The article examines this type of texts in terms of the specificity of the genre and type of literature, their structural and other specific characteristics. Special attention is given to existing approaches to the development of translation strategies in drama. Different approaches to dramatic texts in linguistics and translation studies are analyzed, such as communicative, cultural, and hermeneutic ones. The play of the contemporary British writer David Edgar “Testing the Echo” was selected for a detailed pre-translation analysis, identification and solution of the most significant translation problems. The choice of the play was determined by the presence of complex culture-specific situations (interesting from the point of view of translation), the unusual principle of plot construction, as well as the lack of a translated version of the play. A detailed analysis of the play is preceded by the summary of the plot and some information about the main characters. The paper discusses the most “problematic” extracts from the translation point of view, accounts for translation decisions and lists some of the transformations that had to be resorted to in the process of translating. As a result, a conclusion is made that translation of drama has an interdisciplinary character, involving both theatrical and literary issues. Thus, the most effective strategy of translating drama is a combination of concretization and adaptation.
23
Van Esler, Mike. "Not Yet the Post-TV Era: Network and MVPD Adaptation to Emergent Distribution Technologies." Media and Communication 4, no. 3 (July 14, 2016): 131–41. http://dx.doi.org/10.17645/mac.v4i3.548.
Abstract:
Television as a medium is in transition. From DVRs, to Netflix, to HBO Now, consumers have never before had such control over how they consume televisual content. The rapid changes to the medium have led to rhetoric heralding the impending “post-TV era.” Looking at the ways that legacy television companies have adapted to new technologies and cultural practices suggests that rather than traditional television going the way of radio, television as a medium is actually not terribly different, at least not enough to conclude that we have entered a new era. Press releases, discursive practices by the news media, corporate structures and investments, and audience research all point to the rhetoric of post-TV as being overblown. By thinking about contemporary television as being in transition, greater emphasis and attention can be placed on the role that major media conglomerates play in developing, funding, and legitimizing new forms of television distribution, in addition to co-opting disruptive technologies and business models while hindering others.
24
Bull, John. "Add-Aptation: Simon Stephens, Carrie Cracknell and Katie Mitchell’s ‘Dialogues’ with the Classic Canon." Journal of Contemporary Drama in English 6, no. 2 (November 7, 2018): 280–99. http://dx.doi.org/10.1515/jcde-2018-0026.
Abstract:
AbstractAddition and Add-Aptation This article discusses, in particular, the playwright Simon Stephens’s “English Language versions” of Ibsen’s A Doll’s House and Chekhov’s The Cherry Orchard in the context of the long and tangled history of translation and adaptation. Key differences from the conventional claim to be attempting some kind of fidelity to the original in Stephens’s approach to the task of creating a new text are considered: an approach which largely adheres to the overall narrative structure of the original but feels free to play with, in particular, the dialogue. This approach is then contrasted with the act of ‘appropriation’ of an existing text: whilst the act of appropriation results in the creation of an independent play that exists alongside the original, although Stephens actively disrupts expectations of fidelity, his version is still offered as a play by Ibsen or Chekhov. The process is further problematized by the directorial interventions of Carrie Cracknell and Katie Mitchell, working independently and in collaboration with Stephens on their productions of A Doll’s House and The Cherry Orchard respectively. I have labelled this process Add-Aptation, to distinguish it from both adaptation per se and appropriation. In an add-apted text the additions are both deliberate and significant Not the least significant factor in this process is that both directors are women, as is increasingly likely to be the case in the world of contemporary theatre.
25
ZURIET, JADE. "MIGRATION PROCESSES AND INTERETHNIC RELATIONS IN A POLYETHNIC REGION." Main Issues Of Pedagogy And Psychology 16, no. 1 (February 20, 2018): 179–88. http://dx.doi.org/10.24234/miopap.v16i1.336.
Abstract:
The article examines the impact of migration on the contents and specifics of interethnic relations in Southern Russia. The study, based on the results of the expert survey, revealed that the issue of migration is becoming a global one and that it plays a role of risk factor for the regional community. Intensification of migration processes has an impact on parameters of regional securitysuch as the ethno-social processes, ethnic tensions, conflict and political stability. Currently migration processes play a significant role in the dynamics of ethnosocial development of the South of Russia. The necessary additional measures are aimed at its adaptation to the new social situation caused by the influx of migrants. In modern conditions, the migration policy has become one of the priorities in political and economic activities of our state. The article analyzes migration processes in the Republic of Adygea. It is concluded that in the South of Russia contemporary migration processes have an ethnic component, influencing the social integration.
26
Perenič, Urška. "IVAN KUKULJEVIĆ SAKCINSKI U SLOVENSKOJ PRIJEVODNOJ KNJIŽEVNOJ KULTURI SREDINOM 19. STOLJEĆA: JURAN I SOFIJA ILI TURCI KOD SISKA I OBLIKOVANJE SLOVENSKOGA NACIONALNOG IDENTITETA." Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu 63, no. 1-2 (March 19, 2020): 33–49. http://dx.doi.org/10.22210/ur.2019.063.1_2.02.
Abstract:
IVAN KUKULJEVIĆ SAKCINSKI IN THE CULTURE OF MIDNINETEENTH-CENTURY SLOVENE LITERARY TRANSLATION: JURAN AND SOFIA, OR THE TURKS AT SISAK AND THE FORMATION OF THE SLOVENE NATIONAL IDENTITY In 1850, Ivan Kukuljević Sakcinski’s Illyrian-Croatian plays Juran i Sofija ili Turci kod Siska (Juran and Sofija, or the Turks at Sisak, 1839) and Stjepko Šubić ili Bela IV. u Horvatskoj (Štepan Šubic, or Bela IV in Croatia, 1841) were published in Slovene translation in the book Dve igri za slovensko glediše (Two Plays for the Slovene Theatre). First, the paper considers the plays in a wider context of contemporary Slovene-language drama of the same period, and then in a somewhat narrower context of dramatic works in the Slovene language in (South) Slavic literature, wherein the discussion takes into account the position of these two plays in the developing system of genres of translated drama, since these two works occupy a distinctive place because they representing model heroic plays. Special emphasis is placed on the first play, which is not only Kukuljević’s most well-known work, but was, generally speaking, better received in the Slovene context. This can be explained in a number of ways: 1) due to to specific socio-political conditions (the translation into Slovene is from the period of Bach’s s absolutism marked by increased German pressure on the Slovene and Croatian territory); 2) due to obvious social relevance of the Turkish topic (in the Battle at Sisak the Slovenes and Croatians behave heroically, independently and cooperatively); and 3) due to the play’s specific features, in particular its dramatic personae, setting, and Slavic character (in the play, Toma Erdödy, Juran and Andrej Turjaški act in accordance with Slavic reciprocity, and the setting of the play is Slavic). These features, in turn, enabled identification with the characters and promoted national emancipation. The genre of the heroic play filled the gap in the Slovene literature, which Fran Levstik anticipated in his 1858 Slovene literary programme, which is also the first Slovene programme of this type. Keywords: translation, adaptation, Slovene-Croatian relations, Turk
27
Muhi, Dr Maysoon Taher, Dr Maysam Bahaa Saleh, and Sufyan Awad Hasson. "The Character of Shylock as a Cultural Mark: Shakespeare's The Merchant of Venice and Bakathir's The New Shylock." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 3 (September 15, 2019): 69–90. http://dx.doi.org/10.36473/ujhss.v58i3.912.
Abstract:
This study aims to depict the image of the Jew by two different authors of various periods of time. Undoubtedly, the Image of the Jew had been discussed and depicted in many plays of famous and prominent authors, especially during The Renaissance Era, such as Christopher Marlowe in his brilliant artistic work The Jew of Malta. In addition to, William Shakespeare’s glorious piece of art The Merchant of Venice which is described by Dr. Mahmoud Shetywi, in his article “The Merchant of Venice in Arabic” as the play that is considered till now as the most prominent Elizabethan comedy that has been studied, performed and adapted by many universal and Arab modern and contemporary authors ; who one of them is the Yemeni author and playwright Ali Ahmed Bakathir with his adaptation of The Merchant of Venice which is called The New Shylock , in which he relates the traditional Elizabethan image of the Jew to the issue of (The Arab – Israeli Conflict). So, this study endeavors to show the genius dramatic techniques, that are used by both authors and the effect of Shakespeare on Bakathier. The New Shylock can be considered an adaptation of The Merchant of Venice with modern modifications and new concepts that serve the purpose of Bakathir. Accordingly, the researchers will rely on the theory of adaptation in excavating the treasures of both texts. Moreover, there are various (psychological, political, social and anthropological) aspects of depth that they tried to convey within their creation of the character of Shylock and what does this character really imply of the essential issues, to criticize and relate them to their own societies and times.
28
Sawyer, Robert. "“All’s Well that Ends Welles”: Orson Welles and the “Voodoo” "Macbeth"." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 87–103. http://dx.doi.org/10.1515/mstap-2016-0007.
Abstract:
The Federal Theatre Project, which was established in 1935 to put unemployed Americans back to work after the Great Depression, and later employed over 10,000 people at its peak, financed one particularly original adaptation of Shakespeare: the “voodoo” Macbeth directed by Orson Welles in 1936. Debuting in Harlem with an all-black cast, the play’s setting resembled a Haiti-like island instead of ancient Scotland, and Welles also supplemented the witches with voodoo priestesses, sensing that the practice of voodoo was more relevant, if not more realistic, for a contemporary audience than early modern witchcraft. My essay will consider how the terms “national origins” and “originality” intersect in three distinct ways vis-a-vis this play: The Harlem locale for the premier, the Caribbean setting for the tragedy, and the federal funding for the production.
29
Urlińska, Magdalena. "INNOVATIVE USE OF THE POTENTIAL OF CONTEMPORARY SENIORS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2016): 183. http://dx.doi.org/10.17770/sie2016vol4.1553.
Abstract:
Attitude to old age varies depending on the cultural context - historical, like changing the public perception of the elderly and attitude to senior age. Since the 60s of the twentieth century in sociology is functioning the concept of ageism, describing the phenomenon of discrimination against older people because of their age. It manifests itself in a dismissive ratio deficits on offer for seniors or problems in the labor market. Social stigmatization of seniors has a direct impact on their physical and mental health. Sense of control over their own lives and to have a sense of whether the purpose is of great importance at the end of professional activity. Halting the process of marginalization of the elderly multi- faceted and complex solutions, parallel, integrated actions legal, financial, educational and psychological. Exploiting the potential which lies dormant in this social group gives positive changes. It becomes an element of counteracting the social stigma of old age, disenchant way of looking at modern senior. This scope for lifelong education, which is a bailout. It creates an action for the activity, gives the opportunity to make changes, positive transgression in the senior phase.Actions and initiatives designed to help them adapt to changing social reality and the market, they combine traditional teaching methods (lecture) with active methods (including mentoring). It is used in the process a wealth of experience as seniors. When preparing an offer of educational activities worth including senior-leadership initiatives. This senior-mentoring build on the expertise provides a wide range of knowledge about man and the surrounding reality, by which it is possible to transpose this knowledge from theory into practice. Flexibility in the method is adequate to the problems and needs of seniors, can properly select and modify rules educational activities, so that they are the optimal solution. Senior-mentoring can serve the liberation of spontaneous being and becoming elderly, activating its development opportunities and a nap in her creative potential. Comprehensive measures to help people in late adulthood in the learning process, to acquire new knowledge in the field of self-development and improved skills are an opportunity to make fuller use of the life and free timeEducation towards old age, conducted in the form of mentoring, is based on an individual plan of action, which in effect allows tame old age, it helps to find the meaning of life, develop a model of relationships with significant others, develop defenses and adaptation to difficult situations or emergencies, find in new roles. Senior-mentors, they could play an advisory role, on the one hand would indicate assisting the elderly, preventing their social exclusion and pathological aging, on the other hand, monitor and assist the process of education for old age.
30
Greenstreet, Carl. "From play to production: the Cooper unconventional story—20 years in the making." APPEA Journal 55, no. 2 (2015): 407. http://dx.doi.org/10.1071/aj14042.
Abstract:
The Cooper Basin is Australia’s leading onshore producing hydrocarbon province, having produced more than 6 Tcf of natural gas since 1969. The basin is undergoing renewal 45 years later, driven by the emerging growth of east coast LNG export-driven demand. Following North America’s shale gas revolution, the Cooper Basin’s unconventional potential is now widely appreciated and it is believed to hold more than 100 Tcf of recoverable gas. This resource potential is held in four stacked target unconventional lithotypes, each having demonstrated gas flows: tight sands—heterogeneous stacked fluvial sands; deep coal—porous dry coals, oversaturated with gas; shales—thick, regionally extensive lacustrine shales; and, hybrid shales—mixed lithotype containing interbedded tight sandstones, shales and coals. Industry activity initially focused on the Nappamerri Trough, where more than 25 contemporary exploration wells have been drilled, proving up an extensive basin-centred gas play with >1,000 m of continuous overpressured gas saturated section outside of structural closure. Santos has had a team focused on unconventional resources for nearly 20 years and successful results have been quickly tied into the producing infrastructure. This has been demonstrated with the Moomba–191 REM shale success, Moomba–194 and the recent Moomba–193H connection, one of the basin’s first fracture-stimulated horizontal wells. Prospective geology, existing infrastructure and market access makes the Cooper Basin well positioned for unconventional success. Each resource play is unique and commercial success requires considered adaptation of established technologies and workflows, based on a understanding of local geological and reservoir conditions. Commercialisation activity now seeks to define play fairways, characterise and prioritise reservoir targets and determine appropriate drilling and completion approaches.
31
Rahman, Aziz-ul, Momena Habib, and Muhammad Zubair Shabbir. "Adaptation of Newcastle Disease Virus (NDV) in Feral Birds and their Potential Role in Interspecies Transmission." Open Virology Journal 12, no. 1 (August 31, 2018): 52–68. http://dx.doi.org/10.2174/1874357901812010052.
Abstract:
Introduction:Newcastle Disease (ND), caused by Avian avulavirus 1 (AAvV 1, avulaviruses), is a notifiable disease throughout the world due to the economic impact on trading restrictions and its embargoes placed in endemic regions. The feral birds including aquatic/migratory birds and other wild birds may act as natural reservoir hosts of ND Viruses (NDVs) and may play a remarkable role in the spread of the virus in environment. In addition, other 19 avulaviruses namely: AAvV 2 to 20, have been potentially recognized from feral avian species.Expalantion:Many previous studies have investigated the field prevailing NDVs to adapt a wide range of susceptible host. Still the available data is not enough to declare the potential role of feral birds in transmission of the virus to poultry and/or other avian birds. In view of the latest evidence related to incidences of AAvVs in susceptible avian species, it is increasingly important to understand the potential of viruses to transmit within the domestic poultry and other avian hosts. Genomic and phylogenomic analysis of several investigations has shown the same (RK/RQRR↓F) motif cleavage site among NDV isolates with same genotypes from domestic poultry and other wild hosts. So, the insight of this, various semi-captive/free-ranging wild avian species could play a vital role in the dissemination of the virus, which is an important consideration to control the disease outbreaks. Insufficient data on AAvV 1 transmission from wild birds to poultry and vice versa is the main constraint to understand about its molecular biology and genomic potential to cause infection in all susceptible hosts.Conclusion:The current review details the pertinent features of several historical and contemporary aspects of NDVs and the vital role of feral birds in its molecular epidemiology and ecology.
32
Surminski, Swenja, Manuela Di Mauro, J. Alastair R. Baglee, Richenda K. Connell, Joel Hankinson, Anna R. Haworth, Bingunath Ingirige, and David Proverbs. "Assessing climate risks across different business sectors and industries: an investigation of methodological challenges at national scale for the UK." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 376, no. 2121 (April 30, 2018): 20170307. http://dx.doi.org/10.1098/rsta.2017.0307.
Abstract:
Climate change poses severe risks for businesses, which companies as well as governments need to understand in order to take appropriate steps to manage those. This, however, represents a significant challenge as climate change risk assessment is itself a complex, dynamic and geographically diverse process. A wide range of factors including the nature of production processes and value chains, the location of business sites as well as relationships and interdependencies with customers and suppliers play a role in determining if and how companies are impacted by climate risks. This research explores the methodological challenges for a national-scale assessment of climate risks through the lens of the UK Climate Change Risk Assessment (UKCCRA) process and compares the approaches adopted in the first and second UKCCRA (2011, 2016), while also reflecting on international experiences elsewhere. A review of these issues is presented, drawing on a wide body of contemporary evidence from a range of sources including the research disciplines, grey literature and government policy. The study reveals the methodological challenges and highlights six broad themes, namely scale, evidence base, adaptation responses, scope, interdependencies and public policy. The paper concludes by identifying suitable lessons for future national climate risk assessments, which should guide the next phase of research in preparation for UKCCRA3 and those of national-level risk assessments elsewhere. This article is part of the theme issue ‘Advances in risk assessment for climate change adaptation policy’.
33
Löwenau, J. P., P. J. Th Venhovens, and J. H. Bernasch. "Advanced Vehicle Navigation applied in the BMW Real Time Light Simulation." Journal of Navigation 53, no. 1 (January 2000): 30–41. http://dx.doi.org/10.1017/s0373463399008681.
Abstract:
Advanced vehicle navigation based on the US Global Positioning Systems (GPS) will play a major role in future vehicle control systems. Contemporary vehicle navigation systems generally consist of vehicle positioning using satellites and location and orientation of the vehicle with respect to the roadway geometry using a digitised map on a CD-ROM. The standard GPS (with Selective Availability) enables positioning with an accuracy of at least 100 m and is sufficiently accurate for most route guidance tasks. More accurate, precision navigation can be obtained by Differential GPS techniques. A new light concept called Adaptive Light Control (ALC) has been developed with the aim to improve night-time traffic safety. ALC improves the headlamp illumination by means of continuous adaptation of the headlamps according to the current driving situation and current environment. In order to ensure rapid prototyping and early testing, the step from offline to online (real-time) simulation of light distributions has been successfully completed in the driving simulator. The solutions are directly ported to real vehicles to allow further testing with natural road conditions.
34
Dyatlov, Victor, and Iraida Nam. "National-Cultural Organisations in Contemporary Siberian Cities: Issues of Ethnic Representation." Ideas and Ideals 12, no. 4-2 (December 23, 2020): 473–91. http://dx.doi.org/10.17212/2075-0862-2020-12.4.2-473-491.
Abstract:
The so-called ‘national-cultural’ (natsional'no-kul'turnye organizatsii, NKO, or natsional'no-kul'turnye avtonomii, NKA), or ethnicity-based organisations, that started to emerge in Russia at the turn of the Soviet and the post-Soviet epochs have become an ordinary attribute of the country’s urban space. We were interested in the question of why and how these organizations have found themselves at the intersection of ethnic and migration discourses. For nearly 30 years we have been studying the case of Tomsk and Irkutsk national-cultural organisations (based on observations, participation in the events and activities organised by NKO/NKA and in the meetings of specialised advisory boards, interviews and surveys, materials released by national-cultural organisations and municipal authorities, mass media reports, etc.). This allows us to understand what role migrants themselves had to play: whether they were subjected to paternalistic care or contributed to accumulation of social capital by leaders and activists of national-cultural organisations, or both. Local authorities have come to see such organisations as a convenient tool to manage ‘diasporic’ communities, that is, organised ethnic groups, whose membership is associated with one’s ethnic origin or ethnicity and which are entitled to act independently as agents of social relations. NKO/NKA leaders are considered to be ‘diasporic bosses’ exercising the right to control and regulate their ‘diaspora compatriots’. That these organisations serve to meet specific ethnic groups’ cultural needs is not their single and possibly not even their main function. Their legal status (resulting from a special law on organisations of this type and a law on public organisations more generally) allows them to be in close contact with the authorities, and, in fact, to have a symbiotic relationship with them. As a result, these organisations have come to be informally tasked with assisting adaptation of migrants in Russian cities. Enthusiasts developing national/ethnic culture (‘ethno-entrepreneurs’) enjoy a certain degree of power given by the state and receive limited but important material and symbolic resources to present their activities as a consolidated ethnic group (‘diaspora’) in urban space. Leaders of ethnic organisations can also benefit from their status in both symbolic and material terms, serving as intermediaries between the ‘diaspora’ they construct and the authorities, and maintaining a relationship with their historical homeland.
35
Whiting, Steven M. "Beethoven Translating Shakespeare: Dramatic Models for the Slow Movement of the String Quartet Op. 18, No. 1." Journal of the American Musicological Society 71, no. 3 (2018): 795–838. http://dx.doi.org/10.1525/jams.2018.71.3.795.
Abstract:
According to a footnote in a treatise on music aesthetics of 1856, Beethoven claimed to have had in mind the scene in the burial vault in Romeo and Juliet when he composed the Adagio of op. 18, no. 1. The Shakespeare connection has persisted because, as scholars since Nottebohm have noticed, it is supported by four (French-language) inscriptions in Beethoven's sketches. We ought to ask, however, Which version of the vault scene—that is, which Romeo and Juliet? As a consequence of eighteenth-century practices of theatrical adaptation, the play was available in various forms. Among contemporary French sources, Steibelt's opera (1793) may be ruled out as a model. Jean-François Ducis's adaptation (1772) shows striking concordances with the sketchbook inscriptions, but we have no direct evidence that Beethoven knew it. He arguably knew three different stage versions—all unlikely models: Weiße's bourgeois tragedy (1767) rejected Shakespeare's ending; Gotter and Benda's singspiel rendition (1776) ended happily; and Zingarelli's tragedia per musica (1796) had the title characters sing a final duet in E-flat major, despite the tragic circumstances. Among the available translations, Beethoven acquired Eschenburg's Romeo und Julia (1779 or earlier), but probably not before composing his quartet. However, the appearance in Berlin of A. W. Schlegel's translation of the vault scene coincided with Beethoven's arrival there in May 1796. This masterful poetical translation may have planted the idea realized in the Adagio of op. 18, no. 1. We know (from a letter of 1810) how highly Beethoven regarded Schlegel's translation, Schindler's assertions to the contrary notwithstanding.
36
Sullivan, Courtney. "From screen to stage: Mutantes’s sex-positive influence on King Kong Théorie." Contemporary French Civilization: Volume 46, Issue 1 46, no. 1 (March 1, 2021): 49–74. http://dx.doi.org/10.3828/cfc.2021.3.
Abstract:
In order to rectify important gaps in scholarship, this article examines how Virginie Despentes’s documentary Mutantes: Féminisme Porno Punk (2009), her autobiographical essay King Kong Théorie (2006), and its theatrical adaptation play off one another to advance the argument that Despentes’s transnational feminism has its roots in the sex-positive movement that began in the United States in the early 1980s.1 At the heart of her work, this feminism influences King Kong Théorie and much of her fiction.2 Despentes, inspired by the sex-positive movement that began in the United States in the early 1980s, interviewed its American pioneers in 2005 for her documentary, Mutantes. These interviews articulate a sex-positive feminism that strives to destigmatize sex work by promoting it as a legitimate, lucrative, and often enjoyable way to earn a living. It resoundingly refutes the notion of the sex worker as victim. Mutantes also focuses on the performances by European postporn collectives trying to find non-binary ways to express sexuality and desire. This “pro-sexe” stance would shape both Despentes’s feminist manifesto King Kong Théorie one year later and her fiction, for she evokes it in brief references to sex workers in her Vernon Subutex trilogy. In a nod to the campy personalities and performers in Mutantes, Vanessa Larré’s production of King Kong Théorie (2018), that she adapted to the theater with Valérie de Dietrich, also aims to educate and challenge. With provocative and jocular scenes and shots, Mutantes and Larré’s play knock viewers and theatergoers off kilter to make them reflect on the ways gender-based and heteronormative binaries stifle both men and women in patriarchal societies. While some of the performances, images, and non-binary sex toys in Mutantes may be upsetting to viewers, that is exactly the point: to defy gender and sexual norms to open up new possibilities for individuals shut out by the binary. Both the documentary and the play tackle taboo subjects with ludic humor in a way that stimulates reflection on the part of the audience in a disarming, unthreatening manner. This paper uncovers the way the camp sensibilities in Mutantes rub off on the play’s adaptation since both capture the humor, joviality, playfulness, and oftentimes self-deprecation of the sex-positive American feminists that worked their way into Despentes’s writing. Mutantes and the play also concretely underscore the ways Despentes’s works are shaping contemporary feminist writers such as Chloé Delaume and Gabrielle Deydier and artists and actors such as Larré and Dietrich.
37
Ross, Andrew A. G. "Realism, emotion, and dynamic allegiances in global politics." International Theory 5, no. 2 (June 4, 2013): 273–99. http://dx.doi.org/10.1017/s175297191300016x.
Abstract:
This article appeals to classical realism for new insights into the role emotions play in shifting the terrain of political allegiance in global politics. Although undetected in readings emphasizing rational statecraft, realists such as Hans Morgenthau and Reinhold Niebuhr were centrally concerned with human emotions and their political impact. While following the intellectual currents of their time in regarding emotions as fixed impulses, these realists’ deep appreciation for the contingencies of history also led them to cast emotions as socially conditioned mechanisms of adaptation. By revisiting the texts of classical realism, this paper develops a fresh account of how emotion responds to and engenders change in the social world – in particular, change in the location of political allegiances. I then show how Morgenthau and Niebuhr applied these ideas not only to the nation-state but also to the most vexingtransnational phenomena of their time – communism and liberal internationalism. In conclusion, the paper speculates that these reflections on dynamic allegiances at the transnational level offer realists and other international relation theorists insight into the emotional appeal, adaptability, and organizational complexity of contemporary non-state movements and actors.
38
Urichianu, Bogdan Andrei, Adrian Urichianu, Marius Dima, and Toma Sanda Urichianu. "Study on the social significance of recreational sport." Annals of "Dunarea de Jos" University of Galati Fascicle XV Physical Education and Sport Management 2 (December 24, 2020): 60–68. http://dx.doi.org/10.35219/efms.2020.2.07.
Abstract:
The acceleration of contemporary world events, global social, political and economic transformations that have changed traditions and ideologies into new forms adopted by young generations have also brought new content, methods and skills to the field of physical education and sport that have reformed the system and are able to respond to solving unknowns that have pushed to another stage the practice of sports activities.The development of information technology has attracted the lack of interest of young people for movement through forms of practice, known as sometimes unattractive.The purpose of this study is to argue the rethinking of the composition of physical education programs, the discovery of solid evidence based on the reasons for practicing physical sports, the presentation of models to follow and the adaptation of basic structures to human evolution.Assumption. In this study we tried to find out what are the elements that could motivate students to practice physical sports.The results we reached after the study confirmed that more and more students prefer to spend their free time with activities other than sports and those who still prefer movement choose activities that offer fun, play and recreation.
39
Bianchi, Thomas S., Madhur Anand, Chris T. Bauch, Donald E. Canfield, Luc De Meester, Katja Fennel, Peter M. Groffman, Michael L. Pace, Mak Saito, and Myrna J. Simpson. "Ideas and perspectives: Biogeochemistry – some key foci for the future." Biogeosciences 18, no. 10 (May 19, 2021): 3005–13. http://dx.doi.org/10.5194/bg-18-3005-2021.
Abstract:
Abstract. Biogeochemistry has an important role to play in many environmental issues of current concern related to global change and air, water, and soil quality. However, reliable predictions and tangible implementation of solutions, offered by biogeochemistry, will need further integration of disciplines. Here, we refocus on how further developing and strengthening ties between biology, geology, chemistry, and social sciences will advance biogeochemistry through (1) better incorporation of mechanisms, including contemporary evolutionary adaptation, to predict changing biogeochemical cycles, and (2) implementing new and developing insights from social sciences to better understand how sustainable and equitable responses by society are achieved. The challenges for biogeochemists in the 21st century are formidable and will require both the capacity to respond fast to pressing issues (e.g., catastrophic weather events and pandemics) and intense collaboration with government officials, the public, and internationally funded programs. Keys to success will be the degree to which biogeochemistry can make biogeochemical knowledge more available to policy makers and educators about predicting future changes in the biosphere, on timescales from seasons to centuries, in response to climate change and other anthropogenic impacts. Biogeochemistry also has a place in facilitating sustainable and equitable responses by society.
40
Jiresch, Ester, and Vincent Boswijk. "CONTEMPORARY RECEPTION OF EDDIC THEMES IN NEW MEDIA: VIRTUAL 'NORDIC' IDENTITIES, CASE STUDY: DARK AGE OF CAMELOT." Tijdschrift voor Skandinavistiek 37, no. 1 (June 24, 2020): 38–54. http://dx.doi.org/10.21827/tvs.37.1.36929.
Abstract:
This article discusses the most recent (twenty-first century) development in reception and adaptation of Nordic mythology (particularly referring to the Prose and Poetic Edda) and the appropriating of Nordic identities (stereotypes) that is taking place in the so-called new media. In the last two decades the reception of Nordic mythology or Nordic 'themes' in different new media like film, comic books, heavy metal music and computer games has exploded. New media are generally considered expressions of 'popular' culture and have therefore not yet received much scholarly attention. However, since those media are growing notably and especially computer games (console and online applications) reach an enormous audience.Scientific interest in them has increased in recent years. Miller mentions the 'sexiness of Vikings in video games, the pretense of Viking-like settings for popular television programs […]' (Miller, 2014, p. 4). The case study is Dark Age of Camelot (DAoC – Mythic Entertainment 2001) which is a MMORPG (Massive Multiplayer Online Role Playing Game) that is currently (2015) still available to play online. We will show examples of themes (characters, narratives, objects etc.) deriving from Eddic texts and how they are represented and deployed in the game. Since the representation of 'Nordic' identity is a key feature in the game's construction, it will therefore be addressed as well. The fictional world of DAoC consists of three realms – Albion, Hibernia and Midgard – that are at war with each other. Their (human) inhabitants are respectively based on medieval Anglo-Saxon, Celtic and Norse tribes that differ distinctively in their character traits. Our goal is to elaborate on the representation of identity traits of the fictional 'Norse' races (as defined by the game) that appear in DAoC. We will scrutinize if and how the game uses older or more current concepts of (national) identity. In order to do so, an overview of Scandinavian / Nordic identity constructions that have been popular and / or widespread from antiquity will be presented, via medieval sources to romanticism and nineteenth century nationalism until current discussions of national identity.
41
Fabisiak, Ilona. "Poetyka współczesnego teatru faktu – Rozmowy z katem oraz Golgota wrocławska jako znaczące realizacje gatunku." Colloquia Litteraria 7, no. 2 (November 20, 2016): 61. http://dx.doi.org/10.21697/cl.2009.2.03.
Abstract:
The Poetics of Contemporary Non-fiction Theatre – Conversations with an Executioner and Wrocław Via Dolorosa as Significant Representations of the Genre The aim of the article is to examine the specificity of theatrical performances based on historical documents and carried out as part of a Television Theatre.The author of the paper observes the described phenomenon from a broad perspective and ponders on current and past characteristics of a nonfiction theatre. She endeavours to bring the reader close to the origins of a TV Non-fiction Theatre and to the idea of this enterprise. The first part of the article focuses on the historical development of a theatrical genre, which is a documentary drama (docudrama). A special attention is drawn to its links with a political theatre, for instance to Piscator’s and Brecht’s artistic activities.The discussion about a contemporary phenomenon of the Non-Fiction Theatre is based on the description of the two selected stage performances – Conversations with an Executioner and Wrocław Via Dolorosa. Similarly to many other spectacles of this genre these plays rediscover the Stalin era. The action of the spectacles takes place in Poland at the end of the 1940s and their protagonists are people persecuted during that system. Conversations with an Executioner directedby Maciej Englert (the premiere was in 2007) is the adaptation of a widely known Kazimierz Moczarski’s book under the same title. Wrocław Via Dolorosa written by Piotr Kokociński and Krzysztof Szwagrzyk, and directed by Jan Komasa (the premiere: 2008) recounts the story of a ruthless investigation and a fabricated process that took place in Wrocław. The ruminations on both these stage performances lead to the conclusion that a theatrical reconstruction of true events may currently play key roles. The critics draw the attention to the fact that both the spectacles have not only educational and documentary dimensions. They, first and foremost, revive the interest in the most recent history provoking the debates over stalinism. By showing an individual drama they make the viewer identify with historical characters and therefore the very history appears closer to him/her. The author assumes that if the non-fiction theatre avoids certain mistakes that are imputed to it (such as conventionality, martyrdom, direct didacticism) it will still constitute a significant element of contemporary culture.
42
Nguyen, Tho Ngoc. "INTRODUCTION TO SCHOOL CULTURE." Scientific Journal of Tra Vinh University 1, no. 37 (March 25, 2020): 46–68. http://dx.doi.org/10.35382/18594816.1.37.2020.377.
Abstract:
Educational innovation has been and is presently one of the key components in contemporary Vietnamese society, which is included in the Central Party Resolution and has received positive feedback from the community. Educational innovation has long been established and continuously promoted in European and American countries, attracting hundreds of professional researchers who have published many useful works in both theoretical and practical fields. The educational outcomes of these countries shows that, education reforms and adaptation to change require the building of a reasonable, progressive and theoretical basis for school culture, making it a guideline for the whole process of designing and operating that campaign of educational innovation. This paper applies the method of document analysis under the comparative perspective to investigate the theoretical and practical experience of the United States of America and European countries in building school culture for the sake of renovating school culture in Viet Nam today. The study shows that school culture shares most of the similarities among cultures, which are characteristics created by the nature of the field of education itself; however, the intrinsic factors such as the viewpoint, goals, guidelines, policies, management practices and the nature of traditional education in each country play an even more important role in the whole process.
43
Tvaltvadze, Darejan, and Irina Gvelesiani. "JOINT PROJECTS – EFFECTIVE TOOLS FOR FACILITATING THE DEVELOPMENT OF GLOBAL EDUCATIONAL PROCESSES." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 26, 2017): 402. http://dx.doi.org/10.17770/sie2017vol1.2425.
Abstract:
Contemporary educational processes have to be in tune with the increasing global tendencies. All the world countries strive to unite under the umbrella term “global village”, which implies interconnected and almost unified political, economic, cultural, juridical and even educational spheres of life. Special grave challenges are faced by contemporary post-Soviet countries. They have to undergo the post-communist era, to struggle for the survival via radical correctional policy and to interweave globally oriented as well as capitalistically oriented strategies. The greatest challenge is posed to the educational sphere. Many post-Soviet higher educational institutions strive to join the European Higher Education Area. The given institutions try to interflow for the genuine overcoming of the existed “insurmountable” barriers. They consolidate collaboration and cooperation on different research and educational programs. Many newly-created joint projects appear and “play a key role in creating the rightful architecture of modern society. A central point in this process is the enquiry to identify… most urgent problems in national educational systems”(Pourtskhvanidze, 2016), to determine the strategies of functioning in multilingual society and to create a universal educational model of post-communist area via finding a balance between national and worldly. The given paper presents innovative university projects, which belong to two different worlds: the highly developed capitalistic world (Italian international project “Linguaggi e attività Produttive”) and post-Soviet “capitalistically-directed” space (Georgian-Ukrainian “DIMTEGU”). “Linguaggi e attività Produttive” and “DIMTEGU” have different nature and individual ways of development. However, both of them present innovative mechanisms of the preservation of multiculturalism and plurilingualism. The promotion of multiculturalism, facilitation of the preservation of plurilingualism, introduction of multilingual teacher education, development of appropriate curricula and teaching materials, suggestion of the fruitful ways of the adaptation to the global challenges – these are the major issues of our paper and crucial problems of today’s educational world.
44
Perry, Elizabeth J. "Making Communism Work: Sinicizing a Soviet Governance Practice." Comparative Studies in Society and History 61, no. 3 (June 28, 2019): 535–62. http://dx.doi.org/10.1017/s0010417519000227.
Abstract:
AbstractAmong various grassroots governance practices adopted by the Chinese Communist Party (CCP), few have proven more adaptive and effective than the deployment of work teams—ad hoc units appointed and directed by higher-level Party and government organs and dispatched for a limited time to carry out a specific mission by means of mass mobilization. Yet, perhaps because work teams straddle the boundary between formal and informal institutions, they have received scant analytical attention. While work teams figure prominently in narrative accounts of the major campaigns of Mao's China, their origins, operations, and contemporary implications have yet to be fully explored. This article traces the roots of Chinese work teams to Russian revolutionary precedents, including plenipotentiaries, shock brigades, and 25,000ers, but argues that the CCP's adoption and enhancement of this practice involved creative adaptation over a sustained period of revolutionary and post-revolutionary experimentation. Sinicized work teams were not only a key factor in securing the victory of the Chinese Communist revolution and conducting Maoist mass campaigns such as Land Reform, Collectivization, and the Four Cleans; they continue to play an important role in the development and control of grassroots Chinese society even today. As a flexible means of spanning the center-periphery divide and combatting bureaucratic inertia, Chinese work teams, in contrast to their Soviet precursors, contribute to the resilience of the Communist party-state.
45
Young, Stuart. "Making the Representation Real: The Actor and the Spectator in Milo Rau’s ‘Theatrical Essays’ Mitleid and La Reprise." New Theatre Quarterly 37, no. 3 (July 19, 2021): 223–45. http://dx.doi.org/10.1017/s0266464x21000130.
Abstract:
Exceptional in demonstrating the political engagement emerging in twenty-first-century performance is the corpus of the writer and director Milo Rau, whose practice is distinguished by its (re)meditation of the real. With detailed reference to Mitleid (2016) and La Reprise (2018), this article examines Rau’s self-reflexive strategies in (re)presenting testimony or an event as a means not of depicting the real, but of making the theatrical representation itself real in order to change the world rather than merely to portray it. The article focuses in particular on strategies relating to the actor-character and spectatorship. Rau’s interest in the positions of the actor and spectator illuminates issues that have arisen in the discourse of theatre witnessing and in recent scholarship on dramaturgical approaches and spectatorship in contemporary political performance. Essentially, Rau makes the performer’s habitus transparent, and challenges the spectator’s reflexivity, effectively rebutting the largely unchallenged assumption that characters who perform witnesses necessarily leave little room for the spectator to be a performing witness. Stuart Young is Professor of Theatre Studies at the University of Otago. His recent publications include the co-edited Ethical Exchanges: Translation, Adaptation, Dramaturgy (Brill Rodopi, 2017), while his practice-led research into Theatre of the Real includes The Keys are in the Margarine: A Verbatim Play about Dementia (2014).
46
Rizzo, Alessandra. "Translation and Bilingualism in Monica Ali’s and Jhumpa Lahiri’s Marginalized Identities." Text Matters, no. 2 (December 4, 2012): 264–75. http://dx.doi.org/10.2478/v10231-012-0069-0.
Abstract:
This study, drawing upon contemporary theories in the field of migration, postcolonialism, and translation, offers an analysis of literary works by Monica Ali (of Bangladeshi origins) and Jhumpa Lahiri (of Bengali Indian parents). Ali and Lahiri epitomize second-generation immigrant literature, play with the linguistic concept of translating and interpreting as forms of hybrid connections, and are significant examples of how a text may become a space where multi-faceted identities co-habit in a process of deconstructing and reconstructing their own sense of emplacement in non-native places. Each immigrant text becomes a hybrid site, where second- and third generations of immigrant subjects move as mobile, fluctuating and impermanent identities, caught up in the act of transmitting their bicultural and bilingual experience through the use of the English language as their instrument of communication in a universe which tends to marginalize them. This investigation seeks to demonstrate how Ali and Lahiri represent two different migrant experiences, Muslim and Indian, each of which functioning within a multicultural Anglo-American context. Each text is transformed into the lieu where identities become both identities-intranslation and translated identities and each text itself may be looked at as the site of preservation of native identities but also of the assimilation (or adaptation) of identity. Second-generation immigrant women writers become the interpreters of the old and new cultures, the translators of their own local cultures in a space of transition.
47
Allen-Paisant, Jason. "Raising the ghosts of justice: Staging time and the memory of Empire inThe Trial of Governor Eyre." Cultural Dynamics 31, no. 3 (August 2019): 245–59. http://dx.doi.org/10.1177/0921374019847566.
Abstract:
I examine the staging of time, justice and performance in The Trial of Governor Eyre, investigating what this site-specific performance reveals about the experience of time in the context of colonial violence. In doing so, I show that the work’s discourse on temporality reflects a vital sense of performativity within an Afro-diasporic context. The work’s use of temporality, besides reflecting a cultural adaptation, allows for a remoulding of forms, coupling law and theatre in confronting Eyre’s mass executions of 1865. This remoulding of forms (law as theatre, theatre as law) provides a potential for postcolonial witnessing not available when either performance protocol is used on its own. Using Blazevic’s and Cale Feldman’s concept of ‘misperformance’, I argue that this play-trial arises out of a Benjaminian sense of historicity, providing an experience of inchoate justice that finds fulfilment in the present. The Trial of Governor Eyre points, more broadly, to a new ‘problem-space’ in African diaspora political theory, where resistance against colonial structures of oppression is increasingly mounted on the ground of justice itself and through which the legal apparatuses of colonialism become a site of critical memory. Through the play’s deployment of ritual and its plastic moulding of time, 1865 is enlisted as a key historical conjuncture for thinking through the cultural disenchantment of race, but also of the formalist, creative resources that can be mobilised for reimagining humanness in the contemporary moment.
48
Perdikaki, Katerina. "Film Adaptation as an Act of Communication: Adopting a Translation-oriented Approach to the Analysis of Adaptation Shifts." Meta 62, no. 1 (July 6, 2017): 3–18. http://dx.doi.org/10.7202/1040464ar.
Abstract:
Contemporary theoretical trends in Adaptation Studies and Translation Studies (Aragay 2005; Catrysse 2014; Milton 2009; Venuti 2007) envisage synergies between the two areas that can contribute to the sociocultural and artistic value of adaptations. This suggests the application of theoretical insights derived from Translation Studies to the adaptation of novels for the screen (i.e., film adaptations). It is argued that the process of transposing a novel into a filmic product entails an act of bidirectional communication between the book, the novel and the involved contexts of production and reception. Particular emphasis is placed on the role that context plays in this communication. Context here is taken to include paratextual material pertinent to the adapted text and to the film. Such paratext may lead to fruitful analyses of adaptations and, thus, surpass the myopic criterion of fidelity which has traditionally dominated Adaptation Studies. The analysis uses examples of adaptation shifts (i.e., changes between the source novel and the film adaptation) from the filmP.S. I Love You(LaGravenese 2007), which are examined against interviews of the author, the director and the cast, the film trailer and one film review.
49
Jablan, Branka, Zorana Jolic-Marjanovic, and Aleksandra Grbovic. "Influence of teacher experience and training on their attitudes towards education of children with impaired vision in secondary schools." Zbornik Instituta za pedagoska istrazivanja 43, no. 1 (2011): 122–38. http://dx.doi.org/10.2298/zipi1101122j.
Abstract:
As a contemporary educational tendency, inclusion captures a great deal of attention from researchers, and hence there are numerous studies dealing with various aspects of this process. This paper is aimed at studying whether experience in work with children with impaired vision and training for work with children with disabilities lead to differences in teacher evaluations of: (a) the problems the children with impaired vision are facing in regular school; (b) readiness of regular school for inclusive education of this group of children. The sample comprised 63 teachers in regular secondary schools: 54% have had previous experience in working with children with impaired vision, while 42.9% attended training for work with children with disabilities. The results of two-factor analysis (ANOVA) suggest that teacher experience and training have an independent effect on their evaluations. Compared to the teachers without experience in work with visually impaired children, the teachers who have had this experience evaluate considerably lower the problems of adaptation and students? fitting in school environment, complying with the demands of compulsory curriculum and the level of teacher education, while they evaluate much higher school readiness when it comes to the level of training of teaching staff. The teachers trained for work with children with disabilities evaluate lower than teachers without previous training the student problems in the accomplishment of the compulsory curriculum and much higher teacher training, adjustment of textbooks and teaching aids. The obtained findings indicate that teacher experience and training play a significant role in teacher readiness for inclusive education.
50
Baumann, Jan, Nancy Mounogou Kouassi, Emanuela Foni, Hans-Dieter Klenk, and Mikhail Matrosovich. "H1N1 Swine Influenza Viruses Differ from Avian Precursors by a Higher pH Optimum of Membrane Fusion." Journal of Virology 90, no. 3 (November 25, 2015): 1569–77. http://dx.doi.org/10.1128/jvi.02332-15.
Abstract:
ABSTRACTThe H1N1 Eurasian avian-like swine (EAsw) influenza viruses originated from an avian H1N1 virus. To characterize potential changes in the membrane fusion activity of the hemagglutinin (HA) during avian-to-swine adaptation of the virus, we studied EAsw viruses isolated in the first years of their circulation in pigs and closely related contemporary H1N1 viruses of wild aquatic birds. Compared to the avian viruses, the swine viruses were less sensitive to neutralization by lysosomotropic agent NH4Cl in MDCK cells, had a higher pH optimum of hemolytic activity, and were less stable at acidic pH. Eight amino acid substitutions in the HA were found to separate the EAsw viruses from their putative avian precursor; four substitutions—T492S, N722D, R752K, and S1132F—were located in the structural regions of the HA2 subunit known to play a role in acid-induced conformational transition of the HA. We also studied low-pH-induced syncytium formation by cell-expressed HA proteins and found that the HAs of the 1918, 1957, 1968, and 2009 pandemic viruses required a lower pH for fusion induction than did the HA of a representative EAsw virus. Our data show that transmission of an avian H1N1 virus to pigs was accompanied by changes in conformational stability and fusion promotion activity of the HA. We conclude that distinctive host-determined fusion characteristics of the HA may represent a barrier for avian-to-swine and swine-to-human transmission of influenza viruses.IMPORTANCEContinuing cases of human infections with zoonotic influenza viruses highlight the necessity to understand which viral properties contribute to interspecies transmission. Efficient binding of the HA to cellular receptors in a new host species is known to be essential for the transmission. Less is known about required adaptive changes in the membrane fusion activity of the HA. Here we show that adaptation of an avian influenza virus to pigs in Europe in 1980s was accompanied by mutations in the HA, which decreased its conformational stability and increased pH optimum of membrane fusion activity. This finding represents the first formal evidence of alteration of the HA fusion activity/stability during interspecies transmission of influenza viruses under natural settings.