Academic literature on the topic 'Drama Characters and characteristics in literature'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Drama Characters and characteristics in literature.'
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.
Journal articles on the topic "Drama Characters and characteristics in literature"
1
Sedova, E. S. "THE MOTIVE OF LOST ILLUSIONS IN W.S. MAUGHAM’S “FOR SERVICES RENDERED” AND J. B. PRESTLEY’S “TIME AND THE CONWAYS”." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 365–73. http://dx.doi.org/10.35634/2412-9534-2021-31-2-365-373.
Full textAbstract:
The purpose of this article is to analyze the motive of lost illusions in W.S. Maugham’s “For Services Rendered” and J. B. Priestley’s “Time and the Conways”. This motive is realized, firstly, at the level of the system of characters, when two authors show characters with broken hearts, thus the idea of “a heartbreak house” becomes the dominant one in these plays. Secondly, both playwrights use a circular composition, showing the life circle of their characters. The article concludes about the genre diversity of the works of the two authors: Maugham creates a social drama (focusing on the fate of representatives of the "lost generation", the spiritual blindness of the adherents of good old England), Priestley - a philosophical "drama of time" with its characteristic semantics: the loss of time, the compression of time and its reverse flow. Besides, the article discusses a historical and literature context of post-war time: we find typological connections with Siegfried Sassoon’s poetry and Ernest Hemingway’s novel “A Farewell to Arms”.
2
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.
Full textAbstract:
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.
3
Adnyana, I. Komang Manik. "Karakteristik Gender Identity Disorder pada Tokoh Kishimoto Ruka dalam Drama Last Friends Karya Asano Taeko." Jurnal Sakura : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 2, no. 2 (August 30, 2020): 101. http://dx.doi.org/10.24843/js.2020.v02.i02.p04.
Full textAbstract:
The tittle of this research is “Gender Identity Disorder Characteristic at character Kishimoto Ruka in drama Last Friends by Asano Taeko”. This research aims to describe Gender Identity Disorder (GID) characteristic at character Kishimoto Ruka in Last Friends Drama by Asano Taeko. The data were analyzed by using descriptive analysis method and informal method. Some theories applied in this research were Wellek and Warren’s literature and psychology theory (2016), Schmidt’s gender identity disorder theory (1994), Sigmund Freud’s psychoanalytic theory (2016), and Marcel Danesi’s semiotic theory. This research showed that there were four GID characteristics found at character Kishimoto Ruka. These GID characteristic namely 1) there was a sense of cross-gender identification; 2) there was a sense of inappropriateness in the gender role of that sex; 3) the disturbance is not concurrent with a physical intersex condition; and 4) the disturbance causes distress in social and occupational.
4
Permata Sari*), Ni Wayan Ayu. "Romantic drama of Sandhyakala ning Majapahit by Sanusi Pane and its implications for literary learning in senior high school." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, no. 1 (July 25, 2019): 41–51. http://dx.doi.org/10.30998/jh.v1i1.33.
Full textAbstract:
This study aims to reveal the romanticism contained in Sandhyakala ning plays Majapahit works Sanoesi Pane. The method used adallah descriptive qualitative content analysis techniques. The results of this study stated that plays Sandhyakala ning Majapahit works Sanoesi Pane contains romanticism. The third characteristic of romanticism analyzed, namely awareness of wild nature, the uniqueness and distinctiveness of the individual and the longing for the presence of a social order that is warm, everything depicted in the play. In the play, parts 1 and 2 illustrate the awareness of the wild. Then, sections 2 and 3 illustrate the uniqueness and distinctiveness of the individual. Sections 3, 4, and 5 describe a longing for the presence of a social order that is warm. The attitude shown through dialaog and characters in the text of the characteristics of romanticism. So, script Sandhyakala ning Majapahit is told through the flow of romanticism. The implications of this research for the study of literature in high school is as an alternative material of literary learning materials.
5
Uchman, Jadwiga. "In a World Characterized by Transience and Doomed to Extinction Some Old Women Still Need Love —Mrs Rooney from Samuel Beckett’s "All That Fall"." Text Matters, no. 3 (November 1, 2013): 105–20. http://dx.doi.org/10.2478/texmat-2013-0029.
Full textAbstract:
The article analyzes the world of transience, deterioration and death characteristic of Boghill, the place of action of Samuel Beckett’s short radio play—All That Fall. In a broadcast drama, existence is equivalent to being heard, the idea skilfully employed and commented upon by the playwright. The characters actually heard in the play are in most cases elderly or quite old and even the two young ones appear in the context of death. Numerous off-the-air individuals are dead, sterile or suffering from different illnesses. The two main characters’ situation is not different—Mr Rooney is blind, and his wife, Maddy, complains of many ailments. She is a woman in her seventies, overweight and having different kinds of health problems and thus, several times in the course of the play she expresses a wish to die. At the same time, however, in encounters with men on her way to the station she speaks in a manner characterized by numerous sexual innuendos. Furthermore, she expresses a strong yearning for love and hopes her unloving husband would show her some warm feelings. Thus she becomes a convincing illustration of Georges Bataille’s argument: “Eroticism, it may be said, is assenting to life up to the point of death” (11).
6
Abbasova, Sadagat. "THE CHARACTERISTICS AND APPROACHES OF IMMANENCE CRITICISM IN DORIS LESSING’S NOVEL OF “THE GOLDEN NOTEBOOK”." SCIENTIFIC WORK 15, no. 2 (March 9, 2021): 6–10. http://dx.doi.org/10.36719/2663-4619/63/6-10.
Full textAbstract:
Unlike the XIX century, literary culture of the XX century made a strong aesthetic leap in women’s identity. This process has caused to the emergence of a large number of new generation women writers in world literature and moreover, these writers had succeeded in revealing a real and contemporary literary phenomenon, such as “immanence- immanentism” which is focused on female landscapes in their stories and novels. In general, the works of “immanence” authors have a feminist background. As a doctrine, imamnence is used to explain the connection with the spiritual world, which is confirmed by some philosophical and metaphysical theories and critics. But later, immanence was replaced by Kant as a philosophical concept, and this awareness began to include a philosophical disposition perceived by the senses on the basis of personal experience. Lessing, who donated many works to world culture, created a portrait of the physical and spiritual characteristics of people (especially women) with her strong logic and talent in all her stories and novels and tried to explain in detail the special feelings that exist in them. With the help of this concept, Lessing aimed not only to represent the love experiences and emotional vibrations of women in her novels, but also to present a strong and courageous woman in a socio-cultural and political context, unlike female literature. In this paper is discussed, the feature elements of immanent culture in Doris Lessing’s novel in (“The Golden Notebook”). In the novel, Lessing interprets the classic drama of a woman of art who is free ones like as herself and in their examples, examines the potential and profiles of creative women seeking their place in social society. In her works, Doris Lessing reproduces the female perspective in the universe by thinking from the prism of immanentism and pays particular attention to the psychology of female characters and the identification of their inner states of heroes. Based on all of these, the author also refers to the expanding principle of women sovereignty regarding the rights and the status of women in society. At the same time, Lessing also explores the possibility of a relationship based on the concept of mundane reality as an alternative to romantic love parodies of postmodernism, and with this in mind, she erects a “protective wall” against the expansion of the “Western world” in Rhodesia (Zimbabwe). Key words: existence, immanence, Sufism, "The Golden Notebook", socio-cultural
7
Hochscherf, Tobias. "Narrative Complexity and Cultural Relevance in the Name of Public Service Broadcasting: The Cases of Borgen and Herrens Veje." European Journal of Scandinavian Studies 49, no. 1 (April 24, 2019): 156–77. http://dx.doi.org/10.1515/ejss-2019-0010.
Full textAbstract:
Abstract Danish television has been able to produce a remarkable number of successful primetime dramas over the last years from Forbrydelsen (The Killing, DR 2007-12) to Herrens Veje (Ride upon the Storm, DR 2017-). Many of them are Nordic Noir crime dramas, yet the list also includes political thrillers and family dramas. This article briefly summarizes main reasons for the prolific production environment at public service broadcaster Danmarks Radio (DR). Some of the exceptional circumstances of Danish television demonstrate why the relatively small country was able to produce shows that found devoted audiences around the world. While the DR production framework has received much attention, this article takes a closer look at narrative composition, issues of characterization and the presentation of themes. Analyzing the first episodes of Borgen (DR 2010-13) and Herrens Veje, the article proposes that it is specifically the combination of multiperspectivity of the leading protagonists and how their life is linked to wider cultural, social and political debates, that can be identified as one main outcome of the fruitful collaboration between DR and various creative personnel. While both shows adhere to the main characteristics of complex serial drama as identified by Jason Mittel and Trisha Dunleavy, there are also some noticeable differences, including their strong public service ethos, their unusual Danish settings, the avoidance of transgressive protagonists, character-centred storylines and their slow, indulgent pace.
8
Ares Ares, Álida. "Motivos clásicos en la novela Distintas formas de mirar el agua de Julio Llamazares." Lectura y Signo, no. 12 (February 6, 2018): 41. http://dx.doi.org/10.18002/lys.v0i12.5305.
Full textAbstract:
<p>En este artículo se analiza la novela de Julio Llamazares Distintas formas de mirar el agua (2015)1 estudiando los elementos característicos de la obra que guardan semejanza con los trenos y plantos del teatro griego. Para ello, en primer lugar, se señalan las similitudes en lo que se refiere a la estructura y a la función de los personajes, así como el contenido temático y los tópicos clásicos del género elegíaco. A continuación, se consideran las distintas funciones del paisaje en la literatura clásica, subrayando los paralelismos y los valores que este adquiere en la novela. Para concluir se hace una breve reflexión acerca del concepto ideológico de tragedia que se refleja en el drama contemporáneo y en la obra del autor.</p><p><br />This article analyzes the novel written by Julio Llamazares, Distintas formas de mirar el agua (2015), and takes into account characteristic elements of the work that are reminiscent of Greek Theatre threnodies (planto or treno). In order to do this, we underline in the first place the similarities linked to the structure and function of the characters and also the thematic content and topics of elegiac classical genre. Then we consider various landscape features in classical literature emphasizing parallels and values that it acquires in this novel. In conclusion, we make a brief consideration about the ideological concept of tragedy reflected in contemporary drama and in this work of Llamazares.</p>
9
Stezhko, N. G. "Features and specificity of creating a script for a television documentary drama." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 3 (August 6, 2020): 328–35. http://dx.doi.org/10.29235/2524-2369-2020-65-3-328-335.
Full textAbstract:
The author analyses the specifics of writing a script for a television documentary drama (hereinafter referred to as docudrama), which combines the characteristics of the feature and documentary films. The article points out that many books have been written about the rules of scriptwriting for a feature film. However, there is no literature on the art of scriptwriting for a docudrama despite the fact that there are numerous docudramas being created worldwide. The opinion is given that the mastery of the docudrama scriptwriting is in choosing the most interesting and paradoxical moments in a hero’s life and showing his or her character through the resistance to life challenges: how the hero overcomes them, the motivation behind their actions and why a particular choice is being made. While in feature films the narrative is presented through action and actors’ performances, the article emphasises that docudramas explain the hero’s motivations through an additional figure such as an expert or coparticipant in the events. While the difficult moments in the hero’s life and their overcoming are usually depicted through the staged episodes, an exploration into the hero’s character is supported by historical documents, a chronicle or other genuine historical sources. Docudrama is inherently narrative and the author investigates how the best practices of television journalism are used in scriptwriting, in addition to the cinema laws that are used in creating an image. The author explores the methodology of the docudrama scriptwriting in the project “Countdown” (“Vladimir Bokun’s Workshop”,Belarus) as an example.
10
Matvienko, A. I., and G. A. Solopina. "Poetics of Magical Realism in Sarah Ruhl’s сomedy “The Clean House”." Nauchnyi dialog 1, no. 8 (August 31, 2020): 243–57. http://dx.doi.org/10.24224/2227-1295-2020-8-243-257.
Full textAbstract:
The article examines the features of magical realism as a direction of literature, as well as some of the characteristic features of American drama. The history of performances of the play “The Clean House” by the American playwright Sarah Ruhl is presented in the paper, and also a brief overview of critical articles about these theatrical performances is offered. The study proves that the play "The Clean House" can be viewed in the context of magical realism, based on a number of characteristic features, such as metaphysics, conventionality, rejection of psychological explanations of the characters’ actions, the presence of two realities, distortion of space and time, existential problems. It is noted that these features are manifested at the level of compositional construction, speech organization of the play, chronotope, content. It is shown that a metaphysically closed space is materially open, and time in the play is leveled, stopped and determined by the subjective experiences of the characters. Laughter is nominated as the key concept of the play, linking the spatio-temporal organization of the text with its ontological content since through laughter the idea of the immortality of the heroes’ love, which acquires a sacred meaning is affirmed in the play. It is emphasized that the poetics of the “magical” makes it possible to realize the ontological or existential meaning of the play, to show the coexistence of the miraculous and the ordinary.
Dissertations / Theses on the topic "Drama Characters and characteristics in literature"
1
文秉懿 and Bing-yee Man. "A study of minor comic characters in Yuan drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B3121177X.
Full text
2
Bilatyi, Katy Nomthandazo. "Ukuzotywa kwabalinganiswa ngokwesithako sobunzululwazi bume-ngqondo kwiincwadi zedrama ezikhethiweyo zesiXhosa, ngokweemeko zale mihla." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/9913.
Full textAbstract:
Olu phando luza kugxila kuphononongo lobume bengqondo ephazamisekileyo yabalinganiswa, lujonga kananjalo izimo zabalinganiswa ngakumbi abatsha, indlela abacinga nabenza ngayo izinto. Olu phando luza kuphicotha obu bume bengqondo baba balinganiswa kusetyenziswa iincwadi zedrama ezilandelayo: uBuzani Kubawo, kaTamsanqa, uAmaza, kaQangule, uLiseza kutshona kaMbobo, u-Uthembisa noMakhaya kaMtywaku, Isikhwakhwa noBessie kaMtywaku kunye noNdiyekeni kaJongilanga. Olu thotho lweencwadi zedrama zikhethiweyo luza kusetyenziswa kwakhona ukubhentsisa ubungqondo-lukhuni lwababhali ekuzobeni abalinganiswa abatsha njengoongantweni nolwamvila lolu zobo kwindlela ulutsha oluziphethe ngayo. Olu phando lutshayelelwe ngesahluko sokuqala esiqulathe iingxaki zophando, iinjongo zophando, ukubaluleka kolu phando, okusele kubhaliwe ngophando olu, nalapho olu luza kwahluka khona. Isahluko sesibini sibonisa isithako sobuNzululwazi bume- ngqondo nezinye ezikhaphayo ezifana nenkcubeko apho kujongwa ukuba ingaba inkcubeko ayisetyenziswa na ngendlela ebangela ukuba abalinganiswa abatsha bazibone bekwimo emandla yoxinzelelo. Esi sithako senkcubeko sihambelana neso semo yokuziphatha apha kujongwa ukuba ingaba ukuziphatha kwaba balinganiswa batsha akuqhutywa yindlela uluntu olubabona ngayo bephenjelelwa nayindlela abazotywa ngayo ngababhali. Ezinye izithako ezikhapha esi sobume bengqondo seso sobudala apho kugxilwa kwindlela abajongelwa phantsi ngayo ngenxa yeminyaka yabo luluntu nabazali abaphela bebathathela izigqibo ezikhokelela kuxinzelelo nokuziphatha okungekuhle. Esokugqibela seso seOnomastiki apho kujongwa ukuba ingaba indlela abathiywe ngayo abalinganiswa ayinagalelo kusini na kwindlela oluziphethe ngayo ulutsha. Iimeko zoxinzelelo abazibhaqa bephantsi kwazo abatsha azibangelwa ngamagama abawanikiweyo na nekuye kulindeleke ukuba bawalandele ngenkani nokuba imeko ayivumi. Isahluko sesiThathu sakugxila kwizimo zabalinganiswa ze esesiNe sigxile kubalinganiswa nezigulo zengqondo.
3
Mvanyashe, Andiswa. "Uphononongo lokuchubeka kwezimo zabalinganiswa kwiincwadi ezichongiweyo zedrama zesiXhosa." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1409.
Full textAbstract:
Le ngxoxo iza kuthetha ngengcingane yokuchubeka. Phantsi kwengcingane yokuchubeka kuza kuthi kuxoxwe ngezi zinto ziladelayo: ukuchubeka lungileyo kunye nokuchubeka gwenxa, ubuso (imvakalelo), izaci zokuchubeka, ukuchubeka nesini kunye nokuchubeka namandla okanye igunya. Ezi zihloko zingaphantsi ziza kubonakaliswa phantsi kwecandelo lesibini ukuya kwelesine ze isahluko sesihlanu ibe sesokukuqukumbela. Ukuchubeka kufumaneka phantsi kwezifundo zesoshiyolingwistiki. Ingxoxo iza kuthi iqale icacise ngesoshiyolingwistiki. Ukuchubeka kuphuhla kakuhle xa isithethi sisebenzisa amagama entetho-ntshukumo anje ngokuncoma, ukuhlekisa, ukuxolisa njalo-njalo. Ingxoxo iza kuthi inabe nzulu ngengcingane yentetho-ntshukumo. Iza kuphinda ingene nzulu icacisa igama elinentshukumo ngalinye. Le ngxoxo ithi ijonge kwaye iphendule umbuzo othi ingaba ngoobani abachubekileyo kukho amadoda nabantu ababhinqileyo. Lo mbuzo uthi ukhokhelele ingxoxo ekuxoxeni ngesini. Ingcingane yesini iza kuthi isetyenziswe ekuphenduleni lo mbuzo kwaye iza kucaciswa nzulu. Kuyabonakala okokuba apha ekuchubekeni bakhona abantu abachubeka ngenxa yezizathu ezithile. Izizathu ezifana nokuthobela amagunya, ukoyika lo mntu athetha naye, ukuhlonipha njalo-njalo.
4
Bender, Ashley Brookner Pettit Alexander. "Personal properties stage props and self-expression in British drama, 1600-1707 /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12081.
Full text
5
Bean, Joann Ruth MacLachlan. "From Thraso to Herod : Hrotsvitha meets the bragging soldier /." *McMaster only, 1999.
Find full text
6
Bender, Ashley Brookner. "Personal Properties: Stage Props and Self-Expression in British Drama, 1600-1707." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12081/.
Full textAbstract:
This dissertation examines the role of stage properties-props, slangily-in the construction and expression of characters' identities. Through readings of both canonical and non-canonical drama written between 1600 and 1707-for example, Thomas Middleton's The Revenger's Tragedy (1607), Edward Ravenscroft's adaptation of Titus Andronicus (1678), Aphra Behn's The Rover (1677), and William Wycherley's The Plain Dealer (1677)-I demonstrate how props mediate relationships between people. The control of a character's props often accords a person control of the character to whom the props belong. Props consequently make visual the relationships of power and subjugation that exist among characters. The severed body parts, bodies, miniature portraits, and containers of these plays are the mechanisms by which characters attempt to differentiate themselves from others. The characters deploy objects as proof of their identities-for example, when the women in Behn's Rover circulate miniatures of themselves-yet other characters must also interpret these objects. The props, and therefore the characters' identities, are at all times vulnerable to misinterpretation. Much as the props' meanings are often disputed, so too are characters' private identities often at odds with their public personae. The boundaries of selfhood that the characters wish to protect are made vulnerable by the objects that they use to shore up those boundaries. When read in relation to the characters who move them, props reveal the negotiated process of individuation. In doing so, they emphasize the correlation between extrinsic and intrinsic worth. They are a measure of how well characters perform gender and class rolls, thereby demonstrating the importance of external signifiers in the legitimation of England's subjects, even as they expose "legitimacy" as a social construction.
7
Satyo, Priscilla Nomsa. "Women in Xhosa drama : dramatic and cultural perspectives." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52615.
Full textAbstract:
Thesis (PhD)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: This study aims at highlighting a crucial aspect of Xhosa drama: The portrayal of the role women have been forced culturally to assume in society. A selection of Xhosa plays from three periods (1958 - 1965; 1974 - 1982; and 1988 - 1997) is examined. In the process of the study, the analysis and the interpretation of these dramas as well as the depiction of women characters is examined. Authors of the ten dramas under study advocate change through the powerful forces of gender stereotypes and culture distortions. The attributes that the authors commonly ascribe to women characters are passivity, irrationality, compliancy and incorrigibility. An examination of the reasons behind this proliferation of these female stereotypes and the lack of realistic women characters is undertaken. The study posits reasons why particular stereotypes appear in the works of several authors over a period of time. The women characters are products of social conditioning, that is, ideals or counter-ideals of the prevailing values of the authors' culture. They are a symbolic fulfillment of the writers' needs. The broad cultural perspectives of the authors also shape the texts they produce. These dramas treat issues and themes, which become central to the formal and structural ordering of the drama. Such themes have an impact at times on form and structure. In each case the ideology of the class represented by authors under study is indeed reflected in the text, to its detriment. The dominating themes in the ten dramas are forced marriages and women abuse. The authors are so preoccupied with injustices against women that they distort certain cultural aspects by, for example, exaggeration. Women are constantly depicted as victims, while there are no indications in the authors' depictions of women that perceptions of their cultural role and status are in reality undergoing changes. The thesis is arranged as follows: Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the development of plot within episodes in the dramas of the first literary period (1958 - 1965). These episodes depict the different phases of the dramas. A critical evaluation of the dramas by motivating their positive and negative aspects is undertaken. Chapter 3 deals with the development of plot within episodes in the dramas of the second literary period (1974 - 1982). As in the first literary period, a critical evaluation of the dramas by motivating their positive and negative aspects is examined. Chapter 4 deals with the development of plot within episodes in the dramas of the third literary period (1988 - 1997). A critical evaluation of the dramas by motivating their good and bad points is undertaken. Chapter 5 deals with woman as character in Xhosa dramas under study. A detailed analysis of the main woman character in each drama is undertaken. Furthermore, a critical summary of how the woman has been portrayed in the dramas is presented. Chapter 6 presents depiction of Xhosa culture in the Xhosa dramas. From each drama, certain selected aspects of culture are explored and an investigation of the portrayal of these aspects is undertaken. Chapter 7 summarizes the findings of the study.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om 'n kern aspek van Xhosa drama te belig: die rolle wat vroue kultureel gedwing is om te vervul in die gemeenskap. 'n Seleksie Xhosa dramas vanuit drie tydperke (1958 - 1965; 1974 - 1982; en 1988 - 1997) word ondersoek. In die loop van die studie, ontleding en interpretasie van hierdie dramas word die uitbeelding van vroue karakters ook ondersoek. Die skrywers van die tien dramas wat bestudeer word, betoog vir verandering deur middel van die sterk kragte van stereopites en kultureelverwronge voorstellings. Die eienskappe wat die skrywers algemeen toeskryf aan vroue karakters is passiwiteit, irrasionele optrede, gehoorsaamheid en deugsaamheid. 'n Ondersoek na die redes vir die proliferasie van hierdie vroulike stereotipes en die tekortkoming aan realistiese vroue karakters in Xhosa dramas word uitgevoer in die studie. Die studie voer redes aan waarom bepaalde stereotipes in die werk van verskeie skrywers oor 'n tydperk verskyn: hulle vrouekarakters is die produk van sosiale kondisionering, dit wil sêm ideale of teen-ideale van die heersende waardes van die skrywer se kulturele agtergrond en 'n simboliese vervulling van die skrywer se behoeftes. Die algemene kulturele perspektiewe van die skrywers beïnvloed en vorm ook die tekste wat hulle lewer. Hierdie dramas behandel naamlik vraagstukke tematies wat sentraalook bepalend is ten opsigte van die vorm en struktuur van die drama. Sodanige temas het gevolglik in bepaalde gevalle 'n invloed op die vorm en struktuur van die drama. Voorts word die ideologie van die klas verteenwoordig deur die skrywers in elke geval gereflekteer en die teks tot bepaalde nadele daarvan. Die prominente temas in die tien dramas is gedwonge huwelike en vrouemishandeling. Die skrywers is so gepre-okkupeer met die ongeregtighede teenoor vroue dat hulle bepaalde kulturele aspekte verwring deur, byvoorbeeld, buitensporige voorstellings. Vroue word voortdurend voorgestel as slagoffers, terwyl daar feitlik geen aanduidings is in die skrywer se voorstelling van vroue, dat persepsies oor hulle kulturele rol en status inderwaarheid besig is om veranderinge te ondergaan. Die proefskrif is soos volg gestruktureer: Hoofstuk 1 gee die doelstellings, omvang, teorieë en metodes wat in die studie gevolg word. Hoofstuk 2 behandel die ontwikkeling van intrige binne verskillende episodes in die dramas van die eerste literêre periode (1958 - 1965). Hierdie episodes gee 'n uitbeelding van die verskillende fases van die dramas wat in die studie ondersoek word. 'n Kritiese evaluering word van die dramas gedoen deur die positiewe en negatiewe aspekte daarvan te motiveer. Hoofstuk 3 behandel die ontwikkeling van intrige binne die episodes van die dramas van die tweede literêre periode (1974 - 1982). Soos vir die eerste literêre periode, word 'n kritiese evaluering gedoen van die dramas deur onder andere die positiewe en negatiewe literêre aspekte daarvan te motiveer. Hoofstuk 4 ondersoek die ontwikkeling van die intrige binne die episodes in die dramas van die derde literêre periode (1988 - 1997). Die kritiese evaluering van hierdie dramas sluit, soos vir die vorige periodes, 'n gemotiveerde beskouing in van die positiewe en negatiewe aspekte. Hoofstuk 5 ondersoek die vrou as karakter in die Xhosa dramas wat bestudeer word. 'n Gedetaileerde analise van die hoof-vroue karakters in elke drama word gedoen. Daarna word 'n kritiese oorsig aangebied van hoe die vrou voorgestel word in die dramas wat bestudeer is. Hoofstuk 6 bied 'n uitbeelding van Xhosa kultuur in die dramas wat ondersoek is. Bepaalde aspekte van kultuur word vir elke drama ondersoek en die uitbeelding van hierdie kultuur aspekte word behandel. Hoofstuk 7 bied 'n opsomming van die belangrikste bevindinge van die studie.
8
Peter, Zola Welcome. "The depiction of female characters by male writers in selected isiXhosa drama works." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1482.
Full textAbstract:
This research expresses female character portrayal in various drama works written by males. Chapter one is a general introduction that gives the key to this study, the motivation that leads to the selection of this topic; a literary review on the portrayal of female characters in literary works written by males; the scope of study, the basic composition of the ensuing chapters and the definitions of terms that are of paramount importance for this research. Various literary theories are used in Chapter two for the analysis of the research texts. These literary theories include womanism, gender and feminism which expose the social effects caused by the negative perception of females in social life and the negative portrayal of female characters in male dramatic writings. Other literary theories include onomastics as a literary theory, which exposes the relationship between the name giver of a person and the power the name gives to its bearer, as well as psychoanalysis as a theory which proved to be unavoidable, since this study analyses the personal behaviour of the individual characters within their literary environment. Chapter three depicts the general victimization of female characters in male drama works and exposes the various effects of the attitudes of male writers towards female characters in terms of gender role. Chapter four shows a general stereotypical portrayal of female characters in male written drama texts. This chapter shows the impact of stereotyping on female characters from drama works that puts them in a vulnerable position, showing that it is risky to become a victim of ill-treatment in their communities and the literary world. Chapter five deals with the psychological literary review of female characters, showing them as being suicidal and murderers who easily take their own lives and those of other people. Chapter six is a general conclusion of the works which includes observer remarks from other literary researchers of the literature.
9
Yantolo-Sotyelelwa, Betty Matase Ngewu L. L. Taleni Yvonne Yoliswa. "The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives /." Link to the w online version, 2006. http://hdl.handle.net/10019/1322.
Full text
10
Yantolo-Sotyelelwa, Betty Matase. "The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/3361.
Full textAbstract:
Thesis (MA (African Languages))--University of Stellenbosch, 2005.This study aims at highlighting one of the crucial aspects of Xhosa drama: how women have been regarded by a variety of communities as being inferior to men. This stereotype pervades almost all spheres of life. The low status assigned to women find its way into literature as well. Ngewu’s drama “Yeha mfazi obulala indoda” and Taleni’s drama “Nyana nank’uNyoko” has been examined. In most Xhosa literature, women are portrayed as submissive, obedient and minor characters. The advent of Ngewu’s work changed this scenario by portraying women as independent characters. This has led to great conflict with male characteristics and this demonstrates clearly that partriarchal domination is deep rooted in Xhosa culture.
Books on the topic "Drama Characters and characteristics in literature"
1
Female characters in modern Assamese drama, 1857-1977. Delhi: B.R. Pub. Corp., 2004.
Find full text
2
Rogal, Samuel J. A companion to the characters in the fiction and drama of W. Somerset Maugham. Westport, Conn: Greenwood Press, 1996.
Find full text
3
Jain, Jasbir. Deconstructing character: Transformation in postmodernist American drama. Jaipur: Rawat Publications, 1997.
Find full text
5
Images of Englishmen and foreigners in the drama of Shakespeare and his contemporaries: A study of stage characters and national identity in English Renaissance drama, 1558-1642. Rutherford [N.J.]: Fairleigh Dickinson University Press, 1992.
Find full text
6
1867-1936, Pirandello Luigi, and American Repertory Theatre (Cambridge, Mass.), eds. Six characters in search of an author. Chicago: Ivan R. Dee, 1998.
Find full text
7
Fàbregas, Xavier. Els orígens del drama contemporani. Barcelona: Edicions 62, 1995.
Find full textBook chapters on the topic "Drama Characters and characteristics in literature"
1
Fisbach, Eric. "La literatura intimista en Bolivia, una historia el siglo XXI." In America: il racconto di un continente | América: el relato de un continente. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9/045.
Full textAbstract:
Since the end of the 20th century, Bolivian literature has started liberating itself from social realism to favour subjectivism and formal experimentation. There is no more denouncing of exploitation, injustice, inequality but an interest in the confusion experienced by individuals in today’s globalised world. One of the most prominent characteristics of this narrative is the change in the perception of space which used to predetermine the plot, the characters’ psychology or the social relationships. Space now becomes the space of the characters’ transformation, changeable spaces which follow individual dramas. First, this essay defines the orientations of this literature of the end of last century, then it analyses the narrative paradigm in the writings published since the 1990s.
2
Stroganov, Mikhail V. "Invincibility of Space: the estate in A.P. Chekhov’s plays." In Russian Estate in the World Context, 218–27. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0627-7-218-227.
Full textAbstract:
The characteristic plot in the drama of A.P. Chekhov is associated with a sense of tragedy of provincial life, and the writer’s positive characters are torn from the estate, which under his pen begins to be perceived as part of the Russian province. The DOI: 10.22455/978-5-9208-0627-7-218-227 219 characters in Chekhov’s dramas are divided into the indigenous inhabitants of the estate (autochthons) and its transit visitors returning to where they came from. The opposition autochthonous / transit оnе implements the archetypal relationship of the wanderer and the homebody, which were ethically balanced figures in Russian literature of the first half of the XIX century. However, Chekhov, who portrayed the historical and cultural situation in Russia at the turn of the XIX–XX centuries, depicts transit heroes less attractive than autochthons. Believing that in the modern conditions of destruction of the “estate culture” it is impossible to live fully in the estate on a permanent basis, Chekhov nevertheless settled there the most sympathetic of his heroes. Escaping from the estate, they saved their lives, but they did it at the cost of betrayal of family shrines and lofty ideals.
3
Bionda, Gabrijela. "Homoseksualnost i rodni identitet u suvremenoj hrvatskoj drami." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze, 130–44. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.10.
Full textAbstract:
Homosexuality and gender identity issues, although lately often thematized, are still marginalized in Croatian society. Nonetheless, these topics occur as key concepts within which dramatic conflicts and characters are evolving. The two plays which will be analyzed were awarded with Marin Držić award for the best drama text and were staged in two Croatian theaters – ZKM and Kerempuh. The interpersonal relationships within one family and people close to the family members are on display in Tomislav Zajec’s play Ono što nedostaje. The main focus is on the sixteen-year-old David, who, appart from finding a way to communicate with his parents, has to struggle with his sexuality and the desire to be accepted and loved. In terms of speech and physical act his inner struggle is the greatest dramatic conflict and resolution at the same time, so his homosexuality is not in the focus of the play. The second play Ja od jutra nisam stao by Una Vizek addresses the issue of gender identity in today’s society. The author of the play attributes female characteristics to men by taking into account social prejudices and expectations. Each character is indicated with a number and their replica exchange is the usual form of a female chatter. The aim of this research is to show which strategies are used by authors to show the marginalization of the mentioned social groups, how characters are starting a conversation or losing the right to speak but also how they are entering into a dramatic conflict.
4
Guadamillas Gómez, María Victoria. "Analysis of the Fictional Elements and Their Connection With Gender Stereotypes in EFL Learners' Productions." In Teaching Language and Literature On and Off-Canon, 1–15. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3379-6.ch001.
Full textAbstract:
This contribution analyses short biographies written by pre-service infant and primary school teachers about fictional women in history. The pieces of writing were produced by upper-intermediate English learners within a project carried out in two different classes, and in which reading, storytelling, and creative writing were combined with the main purpose of contributing to women's empowerment and visibility in society as well as writing and oral skills' development. In this regard, students read a selected group of biographies, and, later, they created their own fictional biography in which language use, drama—storytelling—and arts were utilised. For the analysis of the stories, attention is paid to the fictional elements introduced (validity of the story, interiority in the main character/s, and narrative congruence, among others), and the presence of adjectives which tend to be attached to female characteristics. In general, the results have shown that there is not a direct relationship between fictional elements and female stereotypes in the stories.
5
Shimizu, Akihiko. "The Face as Rhetorical Self in Ben Jonson’s Literature." In Face-to-Face in Shakespearean Drama, 210–31. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474435680.003.0010.
Full textAbstract:
In this essay, Akihiko Shimizu reconsiders the most widely accepted critical views on Jonson’s “flat” characters versus Shakespeare’s “round” ones. He argues that the Jonsonian concept of character—underpinned by classical rhetorical theories of Quintilian and Plutarch—should be understood as an effect of interaction and exchange and not as a manifestation of consciousness. Jonson’s characters are the effect of a simultaneous process of rhetorical self-enhancement and self-exposure. As these men and women attempt to depict their own worth by affecting humours, their interlocutors use rhetorical conjecture to expose what lies beneath this verbal disguise. Both Jonson’s and Shakespeare’s literature share an interest in performativity, acknowledging the impersonated character as inter-subjective, and prompting the audience to participate in deciphering the character from outward appearance and face.
6
Yearling, Rebecca. "‘Nursed in Blood’: Masculinity and Grief in Marston’s Antonio’s Revenge." In Revenge and Gender in Classical, Medieval and Renaissance Literature, 295–306. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414098.003.0016.
Full textAbstract:
This chapter examines the relationship between grief, revenge and masculinity in John Marston’s Antonio’s Revenge. Unlike other contemporary revenge dramas, the play ends with Antonio alive and unpunished, which critics have tended to interpret either as evidence of Marston’s lack of artistic skill or as a uniquely positive depiction of revenge as necessary and just. This chapter rejects both interpretations, arguing instead that the jarring ending is characteristic of Marston, who frequently pitches genre conventions against perplexing ethical questions in order to unsettle the spectator’s aesthetic expectations and moral judgements. The play also questions the characters’ fantasy of extreme manliness, and its equation of masculinity with violence and death. Although Antonio moves from ‘tears to blood’, coming to embody a vengeful hyper-masculinity, Antonio’s new version of manliness is monstrous and not far from psychosis.
7
Jug, Kristina. "Zagorac kao lik periferije u kontekstu kajkavske dopreporodne svjetovne književnosti i hrvatskoga književnog kanona 20. stoljeća." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze, 248–71. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.17.
Full textAbstract:
Kajkavian literature of the pre-Illyrian movement was often seen as a less valuable segment of national literature and for that reason was already placed in a peripheral literary phenomenon. That literature often was underestimated because of religious character, utilitarianism and didactics. In the 20th century, when the dialectical literature emerged, Kajkavian literature was recognised as equal in Croatian literature. The main purpose of the paper is the analysis of peripheral literary characters who were appearing in the Enlightenment period in Kajkavian literature at the end of the 18th and beginning of the 19th century. In that period secular topics were included in the Kajkavian literature and reached its culmination, especially in the drama. The paper will explore which literature types are represented by these literary characters and which civic values they represent. The analysis will cover several titles from the secular Kajkavian prose and drama from the late 18th and beginning of the 19th centuries, a work entitled Adolf iliti kakvi su ljudi by Jakob Lovrenčić and Kajkavian drama adaptations performed on the stage of the school theatre at Kaptol Roman-Catholic Preparatory. The Illyrian movement forcefully and deliberately stopped Kajkavian literary production. Immediately after the Illyrian movement Kajkavian language was used to characterize a type of literary character whose purpose was mocking and creating a comic effect. The work will explore at which moment the literary characters of Kajkavian peripheries become inspirational to Croatian writers as representatives of a certain milieu and worldview. Particularly interesting will be the analysis of literary characters from the collection of stories Croatian God Mars by Miroslav Krleža and the paper will answer the question on the universal values of the literary characters of Kajkavian periphery and their purpose in the national literature.
8
Gray, Amber. "Fathoms Below: An In-Depth Examination of the Mermaid in Young Adult Literature, 2010–2015." In Beyond the Blockbusters, 51–62. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827135.003.0004.
Full textAbstract:
In response to the rise of young adult paranormal romance in the mid-2000s, more than thirty young adult novels with mermaids as central characters (many of which belonged to multi-volume series) were published between 2010 and 2015.This chapter investigates the complex history of mermaids in fiction, examines the figure of the mermaid and the protagonist’s position between worlds in mermaid-themed young adult novels, and explores how mermaid characters illustrate the possibility of identity and the body as characteristics potentially capable of transformation.
9
Manley, Lawrence. "‘Everybody’s Somebody’s Fool’: Folie à Deux in Shakespeare’s Love Duets." In Face-to-Face in Shakespearean Drama, 52–76. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474435680.003.0003.
Full textAbstract:
Of the myriad versions of face-to-faceness in Shakespeare, an elementary case is what this paper calls the “love duet.” Lawrence Manley’s contribution pursues a formal and dramaturgical route into the broader problem of Shakespeare’s ways of depicting and understanding couples by focusing on a specific instance of the love duet in the earlier work of Shakespeare. The “unchaperoned duet” is a scene or portion of a scene in which the absence of third parties is a theatrical pre-condition and a token for the absence of inhibitions to erotic face-to-face encounter. The paper also considers the impact of inhibiting factors (such as separation, absence, the presence of other characters, impinging circumstance, and erotic betrayal) on the duet. Examples are set against both early modern contexts (ancient literature, Renaissance theories of sympathy, and the development of musical duets) and modern theories, including Beckerman’s taxonomy of duets types, J. L Austin’s speech-act theory, and the clinical diagnosis of “Shared Psychotic Disorder (folie à deux)”(DSM-IV) or “delusional symptoms in partner of individual with delusional disorder” (DSM-V).
10
Winter, Kathrin. "‘Now I am Medea’: Gender, Identity and the Birth of Revenge in Seneca’s Medea." In Revenge and Gender in Classical, Medieval and Renaissance Literature, 97–110. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414098.003.0005.
Full textAbstract:
In Greek and Roman antiquity, revenge is represented as a masculine duty, which is usually carried out by relatives or intimate friends. In Seneca’s drama, Medea adopts this masculine role by exacting revenge for her father and brother, which marks her as a transgressive woman. However, Medea also describes her revenge through language that aligns vengeance to the process of giving birth, a quintessentially female act; as Medea herself proclaims in the first act: parta iam, parta ultio est: peperi (‘My revenge is born, already born: I have given birth’). These birth metaphors contribute to Medea’s formulation of a new vengeful subjectivity, complicating Medea’s status as a transgressive woman and demonstrating how Senecan female characters can appropriate forms of self-definition that are often assumed to be male.
Conference papers on the topic "Drama Characters and characteristics in literature"
1
FILIPPOVA, IRINA. "ABOUT TYPOLOGY OF INTERSEMIOTIC TRANSFORMATIONS." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.36.
Full textAbstract:
We present the author's typology of intersemiotic transformations during the intralinguistic film adaptation of literature adaptation of a work of literature empirically based on the play by M. A. Bulgakov "Ivan Vasilievich" and the film "Ivan Vasilievich changes his profession." Comparative analysis reveals the transformation of various components of the content (realities, external and personal characteristics of characters, genre features) and various degrees (transformation and deformation).
2
Zeng, Qinghua, Wenjun Kong, and Chunjie Sui. "Effect of Confinement on Combustion Characteristics in Lean Direct Injection Combustion System." In ASME Turbo Expo 2013: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/gt2013-95413.
Full textAbstract:
Confinement has direct influence on the dome reference velocity and indirect influence on the combustor’s performance, emissions, operability, liner and dome temperature levels and gradients. Understanding the effects of the confinement is crucial to conventional combustor design. Recently, lean direct injection (LDI) combustor has been popularly employed to reduce nitrogen oxides (NOx) emissions from gas turbine. Compared to conventional combustor, LDI combustor has a much larger amount of air entering into the dome. Therefore, combustion characteristics and confinement effects in LDI combustor are quantitatively or even qualitatively different from those in conventional combustor. As a result, some design criteria for conventional combustor are no longer applicable for LDI combustor and it is essential to investigate the effects of confinement level in LDI combustor. In the literature, several studies have been conducted to understand how the confinement levels affect the characters of swirling non-reactive flow. However, there are few studies on the reactive flow and thereby the effects of confinement on combustion characteristics are not well understood. Due to its important role in combustor design, the confinement effect on spray combustion in LDI mode is systematically investigated in the present study. The experimental setup is established to study the confinement effects. Experimental data on flame characteristics, centerline temperature distribution, and pollutant emissions are obtained. Experiments at five different confinement ratios, 2.8, 6.8, 10.6, 19.5, and 28.5, are conducted. The results show that the confinement level has an important impact on the flame characteristics, centerline temperature, and pollution emissions. The optimal confinement ratio is determined, at which the pollution emissions become the lowest.
3
Nguyen Thi, Dung. "The World Miraculous Characters in Vietnamese Fairy Tales Aspect of Languages – Ethnic in Scene South East Asia Region." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.13-1.
Full textAbstract:
Like other genres of folk literature, fairy tales of Vietnamese ethnicity with miraculous character systems become strongly influenced by Southeast Asia’s historical-cultural region. Apart from being influenced by farming, Buddhism, Confucianism, urbanism, Vietnamese fairy tales are deeply influenced by ethno-linguistic elements. Consequently, fairy tales do not preserve their root identities, but shift and emerge over time. The study investigates and classifies the miraculous tales of peoples of Vietnam with strange characters (fairies, gods, Buddha, devils) in linguistic and ethnographic groups, and in high-to-low ratios. Here the study expands on, evaluates, correlates, and differentiates global miraculous characters, and describes influences of creation of miraculous characters in these fairy tales. The author affirms the value of this character system within the fairy tales, and develops conceptions of global aesthetic views. To conduct the research, the author applies statistical methods, documentary surveys, type comparison methods, systematic approaches, synthetic analysis methods, and interdisciplinary methods (cultural studies, ethnography, psychoanalysis). The author conducted a reading of and referring to the miraculous fairy tales of the peoples of Vietnam with strange characters. 250 fairy tales were selected from 32 ethnic groups of Vietnam, which have the most types of miraculous characters, classifying these according to respective language groups, through an ethnography. The author compares sources to determine characteristics of each miraculous character, and employs system methods to understand the components of characters. The author analyzes and evaluates the results based on the results of the survey and classification. Within the framework of the article, the author focuses on the following two issues; some general features of the geographical conditions and history of Vietnam in the context of Southeast Asia’s ancient and medieval periods were observed; a survey was conducted of results of virtual characters in the fairy tales of Vietnam from the perspective of language, yet accomplished through an ethnography. The results of the study indicate a calculation and quantification of magical characters in the fairy tales of Vietnamese. This study contributes to the field of Linguistic Anthropology in that it presents the first work to address the system of virtual characters in the fairy tales of Vietnam in terms of language, while it surveys different types of material, origins formed, and so forth.
4
Lan, Zhong, Wei Xu, Xia Zhu, and Xuehu Ma. "Microscale Behaviors of Dropwise Condensation: Reflection Spectrum Analysis." In ASME 2012 Third International Conference on Micro/Nanoscale Heat and Mass Transfer. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/mnhmt2012-75254.
Full textAbstract:
The clustering phenomenon on the solid wall during dropwise condensation is analyzed with reflection spectrum. From the theoretical prediction of the reflectivity for thin liquid films with different thickness on stainless steel surface, it is ascertained that the reflectivity corresponds to the coacervate characteristics of the steam molecular. Furthermore, the experimental data of the reflection spectrum during dropwise condensation in literature also demonstrated that the reflection feature and so as the coacervate characters lie between liquid and steam after the droplet departing during an actual continuous condensation process. The clustering model is used to analyze the results, indicating that clusters form on the blank surface. And it is found that different microstructures of the solid wall would lead to different deposition rates of the clusters, which prompts an effective way to enhance heat transfer process of condensation by accelerating the deposition rate of clusters with surface modification.