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Journal articles on the topic 'Drama Didactic drama'
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Gausz, Ildikó. "French tragedy in the Hungarian theatre." Belvedere Meridionale 30, no. 1 (2018): 5–20. http://dx.doi.org/10.14232/belv.2018.1.1.
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The drama is one of the important historical sources of early modern national self-interpretations. After the Long Turkish War (1591–1606) historical dramas are able to enhance patriotism and patriotic education. The tragedy entitled Mercuriade written in 1605 by Dominique Gaspard puts on stage Philippe-Emmanuel de Lorraine, Duke of Mercœur (1558–1602) when he, after the conciliation with Henry IV and leaving the Catholic League, entered into the service of Rudolf II in 1599 and joined the anti-Turkish fights in Hungary. After his death Duke of Mercœur became a mythical hero and his memory was even mentioned at the end of 17th century. Mercuriade can be considered a masterpiece of 17th century school drama, through which it is possible to study the particularities of plays written with a didactic purpose for the students.
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Knight, Sarah. "Enriching the Judgement: Fulke Greville and Didactic Drama." Parergon 33, no. 3 (2016): 145–60. http://dx.doi.org/10.1353/pgn.2016.0134.
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Sikošek, Darinka. "HOW TO STILL RECOGNIZE THE PERIODIC TABLE OF ELEMENTS: THE PROPOSALS OF DIDACTIC AND METHODOLOGICAL PLANNING." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 17, no. 2 (December 15, 2020): 124–38. http://dx.doi.org/10.48127/gu-nse/20.17.124.
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The methodical approach presents the proposals of didactic-methodological planning of curriculum password "Fields in the periodic system" for the needs of the key components of teaching & learning process. The didactic-methodological proposal of each of the current macro-didactic components of the learning process includes the following didactic elements: chemical terms, method / method’s password, didactic tool, didactic material. For each macro-didactic component, it is planned to use one of the methods from the author's "methodic hexaplet", defined by the didactic formula ADDGPS: Analogy-Drama-Dance-Game-Pantomime-Socratic dialogue. The dance method is used to acquire the concepts of atomic orbitals and electronic configurations of the elements. The macro-component repeating involves the role-play method used to implement the Expeditionary Visit of PTE by using the Identity card of the element. Both methods of quiz conversation method according to Socrates and the Small PTE cells are used for evaluation. The use of all the mentioned methods is evaluated in terms of the competencies that must be mastered by the teacher, as well as the competencies that the student acquires when performing an individual method. Keywords: Periodic table of elements; chemical terms; ADDGPS methods (Analogy-Drama–Dance-Game-Pantomime-Socratic dialogue)
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Gojic, Jelena. "DRUŠTVENO-POLITIČKI PREOBRAŽAJ PELAGEE VLASOVE U DRAMI „MAJKA“ BERTOLTA BREHTA." Lipar, no. 71 (April 2020): 83–99. http://dx.doi.org/10.46793/lipar71.083g.
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Brecht was one of the most influential theatre practitioners, playwrights, poets and filmmakers of the 20th century. In this paper we deal with one of his dramas, which was one of his early dramatic writings and which transparently portrays Brecht’s social engagement and his affection for the Communist Party. This drama shows the basic postulates of Marxist ideology and it has received little attention in Serbian scientific literature. This paper points to Brecht’s engagement in this didactic piece, with the support of the theoretical postulates of Shaw, Sartre, Foucault and Adrienne Rich. The aim of the paper is to show the development of the main character, Pelagea Wlassowa, who is undergoing such a transformation, which is inevitably accompanied by her activation in current socio-political events
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Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.
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Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
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Light, Ivan. "The Lenin-Hobson Theory of Imperialism: A Didactic Drama in Five Acts." Teaching Sociology 14, no. 4 (October 1986): 281. http://dx.doi.org/10.2307/1318390.
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Taylor, Barnaby. "RATIONALISM AND THE THEATRE IN LUCRETIUS." Classical Quarterly 66, no. 1 (April 5, 2016): 140–54. http://dx.doi.org/10.1017/s0009838816000161.
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Lucretius' primary didactic aim in De Rerum Natura (DRN) is to teach his readers to interpret the world around them in such a way as to avoid the formation of false beliefs. The price of failure is extremely high. Someone who possesses false beliefs is liable to experience fear (of the gods, or of death, or both), and so will not be able to attain the state of tranquillity that, for Epicureans, constitutes the moral end. Equipping readers with sufficient knowledge always to form true beliefs about the phenomena they encounter thus serves no less a purpose than the enabling of their future happiness. This paper is concerned with how Lucretian intertextuality contributes to this primary didactic aim. For reasons to be explained below, I will focus on Lucretian engagement with the texts of Greek and Roman drama. I will show that allusions to drama in DRN, rather than functioning simply as ‘honey on the rim of the cup’, make a direct contribution to Lucretius' ethical project, teaching readers how to respond rationally to the full variety of their cultural experience.
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Potter, Robert. "Abraham and Human Sacrifice: the Exfoliation of Medieval Drama in Aztec Mexico." New Theatre Quarterly 2, no. 8 (November 1986): 306–12. http://dx.doi.org/10.1017/s0266464x00002311.
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Among the least expected (and least examined) aspects of the Spanish conquest of the Aztec empire in Mexico was its ‘export’ of a neo-medieval form of religious drama. The devastation wrought by the conquistadores upon an ancient civilization should not, however, blind us to the extreme cruelty involved in Aztec forms of worship; and in the following article, Robert Potter both outlines the ‘dramatic’ qualities of such sacrificial spectacles, and shows how the Spaniards, in their attempts to convert the Aztecs to Christianity, employed their own forms of ‘sacrificial drama’ for the purpose – utilizing, for example. The Sacrifice of Abraham for their didactic ends, while also assimilating some elements from the supplanted cultural forms. Robert Potter, who teaches in the Department of Dramatic Art in the University of California, Santa Barbara, is author of The English Morality Play (1975), and of many articles on medieval and renaissance drama. He prepared the present paper for the colloquium of the Societe Internationale pour I'Etude du Théâtre Médiéval at Perpignan in July 1986.
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Gielata, Ireneusz. "Literature as an Auxiliary Science in Teaching Geography." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 6 (September 22, 2021): 93–103. http://dx.doi.org/10.17951/en.2021.6.93-103.
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The article discusses the status of literature in teaching geography. Like cartography, literature maps the space and assigns proper names which allow us to see the places of “condensed, multiplied time” (Claudio Magris). Literary maps bind topography with history and thus realise a geopolitical project of “thinking of place, time and action as coherent unity” (Karl Schlögel). Such literary names as Conrad’s “heart of darkness” or mare nostrum, mare monstrum from Dariusz Czaja’s essay, in geography didactics can reveal the drama of “building up of land and history” (Magris) and thanks to this, a map used in the didactic process can lead to cathartic experience, i.e. it can sharpen, activate and sensitize the pupils’ eye.
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Gonçalves, Amanda Diniz, and Juliano Casimiro De Camargo Sampaio. "A CORPOREIDADE NO ENSINO DE TEATRO: para onde apontam os PPCs das licenciaturas em teatro das universidades federais brasileiras?" Cadernos de Pesquisa 23, no. 1 (April 29, 2016): 95. http://dx.doi.org/10.18764/2178-2229.v23n1p95-106.
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Nesta pesquisa analisamos a natureza das referências bibliográficas básicas e complementares das licenciaturas em teatro das universidades federais brasileiras, bem como a presença de indicações sobre o trabalho do ator e sobre o ensino de teatro nos ementários das disciplinas que tomam o corpo como foco. Realizamos análise quantitativa e qualitativa de documentos (Projetos Pedagógicos de Curso). Resultou que tanto as bibliografias quanto as ementas das disciplinas analisadas estão consideravelmente mais voltadas para as práticas do ator do que para o ensino de teatro, bem como evidenciamos a ausência textual das palavras experiência, metodologia e didática no todo das ementas analisadas.Palavras-chave: Licenciatura. Teatro. Ensino. Ementário. CORPORALITY IN THE DRAMA TEACHING: the Educational Program of Course of the drama degree of the brazilian federal universities point to where?Abstract: In this paper we analyze the nature of the references of the degree in drama of the brazilian federal universities. We analyze too the presence of the indications about both the actor’s work and the teaching of drama in the programs of the courses that take the body as focus. The methodology used was documental research with both quantitative and qualitative analyzes of the Educational Program of Course (EPC). Resulted that the references and the programs of studies of the analyzed courses are considerable more focused in the actor’s work than in teaching drama. We noted too the absence of the following words: experience, methodology and didactic, in the analyzed programs of studies.Keywords: Degree. Drama. Teaching. Program of course. LA CORPOREIDAD EN LA ENSEÑANZA DE TEATRO: Para dónde apuntan los Proyectos Pedagógicos de las Licenciaturas en Teatro de las Universidades FederalesResumen: En esta investigación analizamos la naturaleza de las referencias bibliográficas básicas y complementarias de las licenciaturas en teatro de las universidades federales brasileñas, así como, la presencia de indicaciones sobre el trabajo del actor y sobre la enseñanza de teatro en los programas educacionales de las asignaturas que toman el cuerpo como foco. Realizamos análisis cuantitativo y cualitativo de los documentos (Proyectos Pedagógicos de Curso). Resultó que tanto las bibliografías cuanto los programas educacionales de las disciplinas analizadas están considerablemente más direccionados para las prácticas del actor que para la enseñanza de teatro, así como, evidenciamos la ausencia textual de las palabras experiencia, metodología y didáctica en el total de los programas de los cursos analizados. Palabras Clave: Licenciatura. Teatro. Enseñanza. Programa de Curso.
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Gonçalves, Amanda Diniz, and Juliano Casimiro De Camargo Sampaio. "A CORPOREIDADE NO ENSINO DE TEATRO: para onde apontam os PPCs das licenciaturas em teatro das universidades federais brasileiras?" Cadernos de Pesquisa 23, no. 1 (April 29, 2016): 95. http://dx.doi.org/10.18764/cp.v23i1.4630.
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Nesta pesquisa analisamos a natureza das referências bibliográficas básicas e complementares das licenciaturas em teatro das universidades federais brasileiras, bem como a presença de indicações sobre o trabalho do ator e sobre o ensino de teatro nos ementários das disciplinas que tomam o corpo como foco. Realizamos análise quantitativa e qualitativa de documentos (Projetos Pedagógicos de Curso). Resultou que tanto as bibliografias quanto as ementas das disciplinas analisadas estão consideravelmente mais voltadas para as práticas do ator do que para o ensino de teatro, bem como evidenciamos a ausência textual das palavras experiência, metodologia e didática no todo das ementas analisadas. Palavras-chave: Licenciatura. Teatro. Ensino. Ementário. CORPORALITY IN THE DRAMA TEACHING: the Educational Program of Course of the drama degree of the brazilian federal universities point to where? Abstract: In this paper we analyze the nature of the references of the degree in drama of the brazilian federal universities. We analyze too the presence of the indications about both the actor’s work and the teaching of drama in the programs of the courses that take the body as focus. The methodology used was documental research with both quantitative and qualitative analyzes of the Educational Program of Course (EPC). Resulted that the references and the programs of studies of the analyzed courses are considerable more focused in the actor’s work than in teaching drama. We noted too the absence of the following words: experience, methodology and didactic, in the analyzed programs of studies. Keywords: Degree. Drama. Teaching. Program of course. LA CORPOREIDAD EN LA ENSEÑANZA DE TEATRO: Para dónde apuntan los Proyectos Pedagógicos de las Licenciaturas en Teatro de las Universidades Federales Resumen: En esta investigación analizamos la naturaleza de las referencias bibliográficas básicas y complementarias de las licenciaturas en teatro de las universidades federales brasileñas, así como, la presencia de indicaciones sobre el trabajo del actor y sobre la enseñanza de teatro en los programas educacionales de las asignaturas que toman el cuerpo como foco. Realizamos análisis cuantitativo y cualitativo de los documentos (Proyectos Pedagógicos de Curso). Resultó que tanto las bibliografías cuanto los programas educacionales de las disciplinas analizadas están considerablemente más direccionados para las prácticas del actor que para la enseñanza de teatro, así como, evidenciamos la ausencia textual de las palabras experiencia, metodología y didáctica en el total de los programas de los cursos analizados. Palabras Clave: Licenciatura. Teatro. Enseñanza. Programa de Curso.
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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.
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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.
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Haskell, Yasmin. "The Vineyard of Verse." Journal of Jesuit Studies 1, no. 1 (2014): 26–46. http://dx.doi.org/10.1163/22141332-00101003.
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This review of scholarship on Jesuit humanistic literature and theater is Latin-oriented because the Society’s sixteenth-century code of studies, the Ratio Studiorum, in force for nearly two centuries, enjoined the study and imitation in Latin of the best classical authors. Notwithstanding this well-known fact, co-ordinated modern scholarship on the Latin poetry, poetics, and drama of the Old Society is patchy. We begin with questions of sources, reception, and style. Then recent work on epic, didactic, and dramatic poetry is considered, and finally, on a handful of “minor” genres. Some genres and regions are well studied (drama in the German-speaking lands), others less so. There is a general scarcity of bilingual editions and commentaries of many “classic” Jesuit authors which would, in the first instance, bring them to the attention of mainstream modern philologists and literary historians, and, in the longer term, provide a firmer basis for more synoptic and synthetic studies of Jesuit intertextuality and style(s). Along with the interest and value of this poetry as world literature, I suspect that the extent to which the Jesuits’ Latin labors in the vineyard of the classroom formed the hearts and minds of their pupils, including those who went on to become Jesuits, is underestimated.
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Kopanski, Ataullah Bogdan. "Historicity of the Qur’anic Dhu al-Qarnayn and the Myths of Alexander." Journal of Islam in Asia (E-ISSN: 2289-8077) 9, no. 2 (January 14, 2013): 126. http://dx.doi.org/10.31436/jia.v9i2.351.
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Several verses of SËrah al-Kahf (the Qur’an 18:85-98) contains a didactic lesson of history which unlike the moralistic lesson of Plato on the rise, growth and fall of mythical Atlantis, is an abridged record on events in the unnamed Eurasian empire threatened by terror of the raiding hordes of ferocious nomads from the Northeast in the Iron Age. It is neither history of Alexander the Macedon’s conquest of Greece, Phoenicia, Egypt, Persia and India reported by Arrian, Quintus Curtius, Diodorus Siculus, Polybius, Appian, Plutarch and Justin nor the Alexandrine Romance composed by the anonymous Syrian Christian writer (or writers) in the early Middle Ages of the Mediterranean. Didactica of this Qur’anic SËrah is not based on the Persian Iskander-name, either. Like the life of the historical Prophet Isa (Jesus,a.s.), the historicity of Qur’anic monotheistic ruler DhË al-Qarnayn deeply divides the Muslim, Jewish, Christian and agnostic readers of the ancient history. Their opinions are intellectual mirrors of continuous struggle between monotheism, henotheism and secularism, contextualized into historical drama of divided nations and empires.
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Lebedeva, Olga B. "EUROPEAN DRAMA AS A DIDACTIC MATERIAL: MOLIERE AND GOLDONI AT THE LESSONS OF RUSSIAN FOR GREAT DUCHESS ALEXANDRA FEDOROVNA." Imagologiya i komparativistika, no. 11 (June 1, 2019): 39–52. http://dx.doi.org/10.17223/24099554/11/2.
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Hudáková, Jana, and Eva Králová. "11. Creative Interdisciplinary Math Lessons by Means of Music Activities." Review of Artistic Education 12, no. 2 (March 1, 2016): 290–96. http://dx.doi.org/10.1515/rae-2016-0035.
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Abstract The goal of the paper is to introduce the project Comenius “EMP-Maths”, entitled ‘Providing Mathematics with Music Activities’, in which seven European countries took part. The key chapter is devoted to music activities that Slovak team integrated in the school subject of Mathematics. Music activities were selected and designed in accordance with the content of school subject Mathematics. To each particular theme the project solvers designed methodologies and didactic musical games, contests, music and drama exercises. The authoresses illustrate in detail one example of this integration which was presented during the meeting of 7 European countries in Barcelona in January 2015. Their illustration refers to interconnection of cognitive, affective, and psychomotor goals of both school subjects to develop musical and mathematical abilities of 11 – 12 year old elementary school pupils.
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Sankar, G. "Nationalism in Rabindranath Tagore Plays." IJOHMN (International Journal online of Humanities) 1, no. 3 (April 14, 2015): 8–45. http://dx.doi.org/10.24113/ijohmn.v1i3.11.
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History reveals that institutions or artifacts produced by human beings can lead to the exploitation or the loss of freedom of other human beings. Thus the celebration of the good life of an Athenian citizen in Plato‟s time can hide the wretchedness of vast numbers of slaves whose labor made it possible for the few free citizens to enjoy that good life. Our criteria then must apply to all, or at least the vast majority of the vast of the human group concerned, if they are to lay claim to universality. Amiya Kumar Bagchi, Perilous Passage1 The story of Indo-Anglican literature is the story of yesterday, of a little more than a century, and today. One of the natural results of the British rule in India is the rise and development of literature. The term “Indo-Anglican” was first used in 1883 when a book published in Calcutta that bore the title Indo-Anglian Literature. After the publication of two books by Dr.K.R.Srinivasa Iyengar, the term “Indo-Anglian” has not only acquired considerable currency, but also has come to stay as a familiar and accepted term applied to Indian contribution to literature in English. This has come to be known as Indo-Anglian writing and has been quite an active school of didactic and creative art for at least a century. The first theatre offering English language drama in 1776, Indian drama in English has never achieved the same status as Indian fiction and poetry in English. As in other colonies such as Canada, the Indian theatrical scene was dominated by foreign companies, touring plays drawn mainly from
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Jeż, Tomasz. "The Jesuit Musical Tradition in the Polish-Lithuanian Commonwealth." Journal of Jesuit Studies 5, no. 3 (March 26, 2018): 385–403. http://dx.doi.org/10.1163/22141332-00503003.
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The article sums up the current state of research into the music of Jesuit communities in the Polish-Lithuanian Commonwealth in the years 1556–1773. In this region, the Society’s engagement in cultivating various forms of musical culture was dictated primarily by considerations of pastoral and confessional natures in a country in which the Reformation remained a strong presence. Strategies of cultural activity were applied in the Polish and Lithuanian provinces with more freedom than in the remaining regions of the Society’s German assistancy. These freedoms referred primarily to everyday forms of cultivating music in Jesuit-administered churches and schools, as ratified in the books of customs. A special role in the didactic and formative process was played by the school drama, rich in musical elements, as well as the so-called musical boarding schools. Although the surviving repertoire of Jesuit provenance is unrepresentative of the artistic tradition under scrutiny, we have reconstructed its character on the basis of intermediary sources.
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Vertonghen, Jikkemien. "Informe sobre la International Martial Arts and Combat Sports Scientific Society (IMACSSS) Conference - “Game, Drama, Ritual in Martial Arts and Combat Sports”." Revista de Artes Marciales Asiáticas 7, no. 1 (July 27, 2012): 44. http://dx.doi.org/10.18002/rama.v7i1.422.
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The present report provides a brief account of the first conference of the International Martial Arts and Combat Sports Scientific Society (IMACSSS), held in Genova (Italy) on June 8th-10th, 2012. There were 43 oral presentations and 15 posters divided into five themes: (1) Psychological dimensions of martial arts and combat sports (MA&CS); (2) Sociological and historical aspects of MA&CS; (3) Bio physical, bio technical and bio tactical issues in MA&CS; (4) Pedagogy and didactic methodologies in MA&CS; (5) Philosophical aspects, anthropological conceptions and taxonomy in MA&CS. The conference was a well-organised and unique meeting of MA&CS researchers with a wide variety of topics, international presence and expertise. It provided a good opportunity to consolidate and broaden scientific knowledge and research in MA&CS and contributed to the integration of the scientific community involved in their study.
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Huang, Su-Fei, Wan-Ling Zheng, Jung-Yu Liao, Chiu-Mieh Huang, Tsung-Yi Lin, and Jong-Long Guo. "The effectiveness of a theory-based drama intervention in preventing illegal drug use among students aged 14–15 years in Taiwan." Health Education Journal 77, no. 4 (April 13, 2018): 470–81. http://dx.doi.org/10.1177/0017896918768647.
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Objective: Age of initiation of drug use is closely associated with the risk of developing drug dependence or abuse. Effective programmes are needed to prevent adolescents from using drugs at an early age. The aim of this intervention programme was to prevent adolescents from using illegal drugs by using drama in education (DIE) to convey a universal prevention strategy. Method: We recruited 65 children aged 14–15 years from two junior high schools and assigned them to experimental ( n = 34) and comparison ( n = 31) groups. The experimental group attended six 45-minute sessions of a DIE preventive programme. The comparison group received traditional didactic teaching. We used a generalised estimating equation (GEE) to analyse the data. Results: GEE analysis revealed that the experimental group showed significant improvements in attitude, subjective norms, perceived behavioural control and drug-free intentions compared with counterparts in the comparison group. Student feedback indicated that DIE method can contribute to the prevention of illegal drug use. Conclusion: Applying DIE method to a theory-based drug prevention programme offers a promising way of increasing the intention to not use illegal drugs among students aged 14–15 years.
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Zahrawi, Samar. "Democratizing the Dramatic Text: Wannous’s Late Aesthetics and Individual Freedom." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 3–19. http://dx.doi.org/10.24093/awejtls/vol5no1.1.
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Sadallah Wannous (1941-1997), the Arab World’s most celebrated dramatist, gave up on the didactic art of the ‘theater of politicization’, in the middle of his career, in favor of a freer introspection of human psyche and passions. He spent his most prolific late years searching for new aesthetics and promoting a culture of free thinking. Abandoning his prior commitment to achieving the modern state, Arabic unity, the liberation of Palestine and the triumph of communism, he started creating individuals who are caught up in conflicting passions, loyalties and choices. However, his new themes will still betray a will to reform the many ailments in Arabic culture and politics, such as politico-religious coalitions and colonialism. This article will study the artistic and ideological transformation in Wannous’s later drama. It will also explore the later pro-democracy trends through analyzing the emerging individualism in characterization and the plurality of discourses in the plays of the later period 1989-1997, namely The Rape (1989), Historical Miniatures (1993), Miserable Dreams (1994), Rituals of Signs and Transformations (1994), and Drunken Days (1997).
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Sibirnaja, Maria. "Performative potential of a dramatic fairy tale and its inclusion in the educational and didactic process." Świat i Słowo 35, no. 2 (November 26, 2020): 301–13. http://dx.doi.org/10.5604/01.3001.0014.5479.
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Specific art practices, which include performance, are especially prevalent in popular culture at the turn of the 20th and 21st century. The concept of ‘performance’ means an action in the process of which creation involves a new experience both for the performer of the action and for the recipient. However, it is necessary to distinguish performance as a type of cultural action, dramatization, and performative potential of a work, creating conditions for influencing the consciousness of a person who, when perceiving a work, becomes a full participant in a creative act. Modern fairy-tale plays written by playwrights based on well-known works or the authors’ own dramatic tales have great performative potential. They connect the game principle, the performativity of a fairy tale, capable of activating empathy, influencing the child’s consciousness through the magic of the word, and the performance of the drama, the goal of which is to involve the young viewer in the show. At the same time, the theatrical performance of fairy-tale plays and the metatheatrical techniques involved in them have a significant visual impact on the young audience, which also contributes to the performative dialogue. The moralizing orientation of modern fairy-tale plays, reflecting the current moral and ethical problems of the society, increases the efficiency of the educational process, and contributes to the fulfilment of modern didactic tasks. In this article, based on the Russian playwright Anna Bogacheva, an attempt is made to identify those features of modern fairy-tale plays that convey their performative character and didactic potential.
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Zinovieva, Regina V. "Biblical Text in Edward Albee’s Play “Delicate Balance”." Proceedings of Southern Federal University. Philology 2020, no. 3 (September 30, 2020): 130–38. http://dx.doi.org/10.18522/1995-0640-2020-3-130-138.
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The author explores the Bible motifs in Edward Albee’s play «A Delicate Balance». Over the past few decades the theme of religiosity in literature has acquired special significance in connection with the rethinking of Christian values in the postmodernism. Edward Albee’s play «A Delicate Balance» defined in many ways the Christian theme in the work of American playwright which contradicted the established opinion of domestic literary critics about the incompatibility of Albee’s plays with the ideas of Christianity. The author conducts a conceptual analysis of the New Testament and Old Testament plots (the parable of the Good Samaritan and the story of Tobias from the Book of Tobit) and their interpretation in the drama. The author focuses on the intertextuality of the postmodern text: its cento form (allusions, parodies, paraphrases), the features of presence of the biblical text in the text of the play. Consequently, the article shows the distorted representation of the idea of brotherly love on the example of the interpretation of the parable about the Good Samaritan and the story about Toby. It is underlined that Edward Albee’s work is a continuation of the tradition established in American literature, including didactic and prophetic (messianic) principles.
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Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.
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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and political) theatre should be an entertaining theatre. The Norwegian theatre company Hålogaland Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political messages with the revue format, and by such attempted to make a contemporaneous red revue inspired by Norwegian Workers’ Theatre (Tramgjengere) in the 1930s. Hålogaland Teater and Tramteatret termed themselves as both ‘popular’ and ‘political’, but what was the reasoning behind their aesthetic choices? In this article I will look closer at Hålogaland Teater’s folk comedy, Det er her æ høre tel (This is where I belong) from 1973, together with Tramteatret’s performance, Deep Sea Thriller, to compare how they utilized ideas of socialist populism, popular culture, and folk in their productions. When looking into the polemics around political aesthetics in the late 1960s and the 1970s, especially lead by the Frankfurter School, there is a distinct criticism of popular culture. How did the theatre group’s definitions of popular culture correspond with the Frankfurter School’s criticism?
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Lindstøl, Fride. "Tenk hvis – Om fiksjonserfaringer som utgangspunkt for refleksjon i lærerutdanningen." Acta Didactica Norge 10, no. 3 (October 24, 2016): 14. http://dx.doi.org/10.5617/adno.2964.
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I denne artikkelen settes søkelyset på norsk lærerutdanning og på et arbeid med å utvikle et profesjonsverksted hvor sammenheng mellom teoretiske og praktiske perspektiver i utdanningen kan utforskes og drøftes. Profesjonsverksted kan forklares som en læringsarena hvor lærerutdannere fra ulike fag samarbeider om å transformere overordnede mål for utdanning til høgskoledidaktiske aktiviteter og arbeidsformer. Studien tar utgangspunkt i feltnotater og fokusgruppeintervjuer fra en case der fire grupper med studenter har arbeidet med matematiske, norskfaglige og pedagogiske perspektiver knyttet til temaene klasseledelse og tilpasset opplæring. Et teoretisk og analytisk rammeverk fra drama- og teaterpedagogisk forskning bruker mediert fiksjon for å analysere muligheter til sammenheng mellom pedagogisk teori, fagdidaktiske valg og praktisk lærerarbeid. Resultatet fra analysen av studentgruppers intervensjon med tre ulike fiksjonsformer viser hvordan aktivitetene bidrar til sammenheng på ulikt vis: Simulering tilbyr mulighet til å øve og trene på delferdigheter og profesjonsspesifikke situasjoner. Narrative og poetiske fiksjonsformer bidrar til å involvere personlige erfaringer i læringsarbeidet og utvide studentenes didaktiske repertoar. Refleksive fiksjonsformer gir mulighet til å identifisere seg med ulike roller og perspektiver og trene på å bruke et profesjonsspråk for å analysere praktisk lærerarbeid. Studien er et bidrag til å utvikle og forske på høgskolepedagogiske læringsrom mellom skole og lærerutdanning som kan bidra til å skape sammenheng mellom skolefag, pedagogikk og praktisk lærerarbeid.Nøkkelord: lærerutdanning, høgskolepedagogikk, profesjonsverksted, lærerrolle, fiksjon, medieringAbstract In this article we look into Norwegian teacher training and the development of an educational workshop where the link between theoretical and practical perspectives in education can be explored and discussed. This workshop can best be described as an arena for teaching where teacher trainers who teach different subjects cooperate on transforming overriding educational goals into didactic activities and methods of teaching their college students. The course is based on field notes and interviews with focus groups from a case where four groups of students worked with class leadership and adapted learning in the subject areas of Mathematics, Educational Science and Norwegian. A theoretical and analytical framework from research into educational drama and theatre uses the medium of fiction as a way of analysing the possible parallels between educational theory, didactic choices and practical teaching. The groups worked with three different forms of fiction. The result of the analysis of this intervention shows how these activities are linked: Simulation opens up for the possibility of practicing different skills and profession-specific situations. Poetical and narrative forms of fiction encourage the involvement of feelings and personal experiences in teaching, while also offering a common aesthetic framework in the staging of complex concepts. Reflexive forms of fiction make it possible to decentre and acquire a professional language when analysing one’s teaching practice. The course may contribute to developing research into the relationship between educational science at the levels of the school, the college and teacher training, which may in turn link practical teaching, educational science and the different school subjects.Key words: teacher training, educational science at college level, educational workshop, role of the teacher, mediated fiction
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Karim, Sajjadul. "Ben Jonsons Volpone : An Unconventional and Innovative Jacobean Comedy." IIUC Studies 8 (September 10, 2014): 27–38. http://dx.doi.org/10.3329/iiucs.v8i0.20400.
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Ben Jonsons Volpone (1605) is the best known, most performed and most studied of all of his Plays. Volpone, or The Fox, does not contain the traditional moral and broad themes of Shakespeare. Volpone, disguised as a didactic comedy, is actually an intelligent and cynical satire that compels the audience to rethink their moral expectations. In Volpone, Jonson was successful in combining three genres in order to create a new form of comedy. Volpone is a powerful moral study of human greed, foxy cunning, and goatish lust. It is not the traditional form of comedy. It is a play that takes on the form of a comical satire as well as a morality play. It also adapts the features of a fable, and in that it strives to teach a moral. This play puts a different twist on what people would expect from a comedy or morality play. But, more than a satire on the traditional morality, it is a satire on the type of drama that was prevalent. This article analyses how Jonson presents his audience with an unconventional way of approaching the subjects he is satirizing by creating a new form of comedy that embodies the aspects of all three genres. DOI: http://dx.doi.org/10.3329/iiucs.v8i0.20400 IIUC Studies Vol.8 December 2011: 27-38
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Wodak, Ruth. "The glocalization of politics in television: Fiction or reality?" European Journal of Cultural Studies 13, no. 1 (January 29, 2010): 43–62. http://dx.doi.org/10.1177/1367549409352553.
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This article investigates the ‘glocalization’ of the US TV popular drama series The West Wing, while focusing on one (in some ways) exceptional episode . Because politics is inherently linked to language, discourse and communication, I will take an approach from the perspective of critical discourse analysis (the discourse-historical approach), with a particular focus on elements of argumentation theory and rhetoric, and combine this with media studies. More specifically, I attempt to illustrate how a thorough understanding of the topoi operating within the complex dialogues and interactions helps to reveal the series’ (manifest and latent) political and didactic objectives, embedded in a longstanding tradition of conveying US American liberal values via films and TV.The episode analyzed in this article, Isaac and Ishmael (which was broadcast immediately after 9/11) is exceptional because it explicitly relates to salient real life events; its topical focus on the ‘war on terror’ shifts attention from US domestic politics to an issue that, according to US policy rhetoric, concerns the whole world. Thus, this episode links the debates taking place in one of the world’s most famous institutions, The White House, with those occurring in workplaces across the world: a truly ‘g/local’ moment. The interdisciplinary analysis allows insight into the intricate and complex discursive construction of new glocal narratives, particularly in times of political crisis, revealing which norms are projected and recontextualized both locally and globally, given the many translations of the series worldwide.
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Șușu, Petre, Carmen Mihaela Crețu, and Aurelian Bălăiță. "1. The Acting Student’s Choreographic Training. Several Cognitive Objectives." Review of Artistic Education 15, no. 1 (March 1, 2018): 110–26. http://dx.doi.org/10.2478/rae-2018-0012.
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Abstract Dance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre. Due to the fact that they offer manifold innovating possibilities for artistic expression in a greatly audience-oriented universal language, theatrical forms that include dance, and especially the artistic genre of dance theatre are increasingly often put on stage by directors who work in Romania. Thus, training actors in the area of dance at a high level of performance that allows them to approach these types of syncretic artistic genres becomes a priority for the Romanian theatre school. The director, one of the stakeholders in higher education theatre schools, is the one who decides both the form of a performance and an actor’s involvement (or lack thereof) in that certain performance. Limited or stimulated by the actor’s training level, the director is also a beneficiary of the education the acting student receives in drama school. This study aims at identifying the opinions of ten Romanian directors on the matter of the choreographic categories and skills the acting student acquires during his years of training at a higher education institution. We have used qualitative methodology research, based on semi-structured interviews, applied to a cross-section of ten directors from Bucharest, Cluj-Napoca, Constanţa, Craiova, Iaşi, and Tg. Mureş. This article tackles the issue of cognitive didactic objectives and students’ cognitive competencies that have been emphasized during the conversations with the aforementioned directors.
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Vangsnes, Vigdis, and Nils Tore Gram Økland. "Lærarens roller - veksling mellom ulike lærarposisjonar i didaktisk praksis." Acta Didactica Norge 12, no. 1 (June 7, 2018): 10. http://dx.doi.org/10.5617/adno.5641.
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SamandragDenne studien er ei oppfølging av ein tidlegare studie der det vart konkludert med at lærarrolla kan ordnast i tre hovudkategoriar: den styrande, den støttande og den tilbaketrekte lærarrolla. Dette er dynamiske roller eller posisjonar som pedagogen kontinuerleg vekslar mellom for å oppnå måla for læring og sosialisering. Problemstillinga i denne studien er å utdjupa karakteristikken av desse lærarrollene og lærarens didaktiske intensjonar med val av lærarrolle. Basert på nye data frå klasserom i grunnskulen der undervisningsmetodane dramaforløp og dramatisering vert nytta i fagundervisninga, gjennomfører me ein dramaturgisk didaktisk analyse av aktørane sine handlingar og kommunikasjon i klasserommet. Funna vert kategoriserte i tre didaktiske aspekt ved lærarrollene: i) lærarens posisjonering, ii) lærarens faglege bidrag og iii) lærarens samhandling og kommunikasjon med elevane. Våre funn viser at kvar lærarrolle har sine distinkte kjenneteikn, og at kvar rolle representerer bestemte intensjonar frå læraren si side. Lærarens avveging mellom ulike undervisningsformer og det Biesta kallar undervisningas fleirdimensjonale føremål stiller såleis krav til lærarens profesjonelle dømmekraft. Kunnskap om desse kjenneteikna og intensjonane kan hjelpa lærarar og lærarstudentar med profesjonell planlegging og analyse av undervising, som korleis dei kan balansera mellom å setja seg sjølv i styrande, interaktiv eller tilbaketrekt posisjon i forhold til elevane si faglege tileigning; om dei vil leggja opp til undervising for elevane, saman med elevane eller ved elevane i samspel med kvarandre og andre læringsmedium. Gjennom ei konseptualisering av lærarrollene ønskjer me å bidra til refleksjon omkring lærarpraksis og lærarutdanning for slik å utvikla diskursen rundt lærarprofesjonen.Nøkkelord: lærarrolle, klasseleiing, didaktisk intensjon, undervisningsdramaturgi, pedagogisk dømmekraftThe teacher’s roles - alternation between different teacher positions in didactic practicesAbstractThis is a follow-up study to an earlier study that explored teacher practice in which it was suggested that the teacher’s role is best understood by considering three main categories of activities: the directing, the supportive and the distal teacher role.Based on new data from primary school classrooms, where the teaching methods process drama and dramatization are used in subject teaching, we perform a dramaturgic didactic analysis of the participants’ actions and communication in the classroom. Our findings are categorized in three didactic aspects of the teacher role: i) the teacher`s positioning, ii) the teacher`s academic contribution and iii) the teacher`s interaction and communication with the students. Our findings highlight that each teacher role has its distinct, but sometimes overlapping characteristics and that each role represents certain teacher intensions. The teacher`s balancing of, on the one hand, the forms of teaching and on the other, what Biesta calls the multidimensional purpose of education places certain demands on the teacher’s professional judgment. Knowledge about these characteristics and intensions may help teachers and PSTs in their professional planning and analysis of their teaching, for instance in finding a balance between placing themselves in a directing, interactive or distal position in the students’ qualification process, e.g. if their purpose is education for the students, together with the students or by the students in interaction with each other and different learning media. Conceptualizing the three teacher-roles might contribute to the development of the discourse on teaching professionalism.Keywords: teacher role, classroom management, didactic intention, the dramaturgy of education, pedagogical judgment
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Khairullina, Yulia. "The techniques of artistic drama in the preparation of a teacher of musical art to the teaching of the integrated course «Fine Art» in the context of the New Ukrainian School." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 319–22. http://dx.doi.org/10.33310/2518-7813-2019-65-2-319-322.
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integrated course «Art» in the conditions of the New Ukrainian school. It actualized the phenomenon of artistic dramaturgy in the context of application its regularities in the pedagogy of art. It was considered the features of using the techniques of artistic dramaturgy for ordering the structural and content elements of the modern «art lesson» in the secondary school. It was provided some recommendations to applicate the artistic dramaturgy as an educational technology. The levels of using the artistic dramaturgy at the lesson was describe. Dramaturgy, as «the art of constructing a dramatic work» is described by Aristotle, at that time, the main feature is formulated as the presence of action, changes in events in time. Using of artistic dramaturgy in pedagogy dates back to the 1960’s and 70’s of the twentieth century, when the implementation of new programs for a secondary school required updated methodological approaches. Ukrainian researchers of the problem of an artistic dramaturgy in the field of pedagogy ( O. Rudnitskaya, O. Sholokova, G. Padalka, L. Masol) provided the definition of the concept and levels of its existence in the art of pedagogy. According to previous studies, and based on his own intelligence, the author of the article gives the diagram of the art lesson, where was connected the didactic requirements to school lesson with the elements of the artistic dramaturgy. The author recommends a methodology of tracking the pupil’s emotional reactions for the forecasting the successful educational activity and improving the methodological training of future art teachers. In order to adequately implement the techniques of fiction dramatics, the future teacher needs to master special skills: linguistic and acting skills, possession of a musical instrument, elementary choreographic and pictorial skills, because the teacher is the performer of the lesson, screenwriter and director of artistic dramaturgy.
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Matthias, Bettina. "Thomas Müller (2008). Dramapädagogik und Deutsch als Fremdsprache. Eine Bestandsaufnahme. Saarbrücken. VDM Verlag." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (July 1, 2009): 71–73. http://dx.doi.org/10.33178/scenario.3.2.6.
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Over the past decade, theater-and drama-related activities in the foreign language classroom have enjoyed increasing popularity. More and more foreign language programs have added theater-based literature classes to their course offerings, and theater- and drama-pedagogical workshops, offered through organizations such as the Goethe Institute or the Alliance Française, have helped teachers and students access this creative approach to foreign language instruction. Publications based on “eher subjektive Eindrücke und Erfahrungen” (9) abound; but, so far, a synthesizing account of these methods’ place in foreign language pedagogy, their contributions to didactics, and a systematic typology of drama-pedagogical methods and exercises has been lacking. Thomas Müller’s recently published book Dramapädagogik und Deutsch als Fremdsprache. Eine Bestandsaufnahme. [Saarbrücken: VDM Verlag Dr. Müller, 2008. 145pp.] aims to supply such a systematic account. Drawing on his experience as an actor and as a DAAD Lektor in Dublin, Müller offers a comprehensive introduction to and overview of existing theories on the topic of theater- and drama-in-education, and he devotes most of his book to locating “drama pedagogy” (drama-in-education) within existing foreign language paradigms, most prominently the communicative approach. Müller begins his project by differentiating between theater-in-education (TiE) and drama-in-education (DiE): “Im Falle von TiE spielen andere Theater, ...
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Sambanis, Michaela, Delil Baran, Kimon Beltrop, Lisa Grabert, Janina Knorr-Dadfar, Josephin März, Andrea Schneider, Frank Splitt, and Katharina Wonschik. "DRAMA TO GO! Hints and hands-on activities for the classroom." Scenario: A Journal of Performative Teaching, Learning, Research VII, no. 1 (January 1, 2013): 73–92. http://dx.doi.org/10.33178/scenario.7.1.5.
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We are a group of English philology trainee teachers enrolled in a Master of Education programme at the Freie Universität Berlin, who participated in a seminar on drama in the foreign language classroom taught by Prof. Dr. Michaela Sambanis (chair of English didactics) in the winter term 2012/2013. In the course of the semester, we came across many inspiring ideas in already existing publications on drama in the classroom such as Tselikas 1999, Elena 2011. However, as future English teachers we were eager to find hands-on material for the classroom allowing flexibility in use, bringing more creativity to our teaching, and providing us with the essential theoretical as well as practical information to keep us informed and well-oriented. Inspired by different articles, manuals etc., we finally decided to create our own material for the foreign language classroom including classic examples as well as new drama impulses. We opted for a mode of presentation that we feel would be useful and easily accessible. As compact printables, the drama activities are ready to be slipped into the teacher’s pocket, thus becoming drama to go (cf. section 3). After this introductory paragraph, section 2 will provide some preliminary remarks on the use of ...
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Obdalova, Olga A., and Zoya N. Levashkina. "The Narrative-Communicative Technology of Foreign Language Teaching: Definition and Peculiarities." Vestnik Tomskogo gosudarstvennogo universiteta, no. 458 (2020): 223–32. http://dx.doi.org/10.17223/15617793/458/27.
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This article reveals the current situation in education, which is characterized by individualization and intensification of educational process. It becomes important for students not just to acquire communicative speaking skills in a foreign language, but to develop their ability to interact with representatives of the international community using a foreign language as a means of communication. The need of adjusting the organization of teaching oral foreign language communication at university and developing new effective educational technologies is emphasized. A comparative analysis of the methods of teaching oral speech (Storytelling and Storyline) is carried out. The analysis is based on the key elements of the educational process the authors identify within these methods: idea, character, demonstration result of students’ activities, and structure. The main differences of these methods are revealed. They are the creation of a character in the form of a paper model, making a collage as an illustration of a story, and drama (incidents and celebration). Special attention is paid to the description of the Storyline method, which is basic in the development of a narrativecommunicative technology. It is impossible to use this method in its original form in the educational process of the university. The main part of the article is devoted to the description of the authorial narrative-communicative educational technology and its didactic potential in teaching a foreign language as a means of intercultural communication. Features of the technology are described, including integrativeness, discursiveness, contextuality, intercultural orientation, elements of communicative situation, sociocultural conditioning, interactivity, and activity. The characteristics of the technology are also considered. The methodology of teaching based on the narrative-communicative technology includes a set of steps that is consistent with the step-by-step realization of students’ cognitive and narrative-communicative activities, which stimulates gradual “immersion” in the foreign-language context by creating and reproducing the narrative. The educational technology the authors developed appears to be an innovative tool of the teacher’s transformative activity that creates favorable conditions for students’ involvement in dynamic communicative activity, a comfortable educational atmosphere, and an increase in students’ motivation. This technology is a way to reconstruct reality, in which students develop their communication and cognitive skills.
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Martín, María Isabel, and Víctor López Pastor. "Teatro de sombras en educación infantil: un proyecto para el festival de Navidad (Shade Theatre and Learning Project Methodology. An experience of Physical Education Infant Education)." Retos, no. 12 (March 28, 2015): 45–50. http://dx.doi.org/10.47197/retos.v0i12.35036.
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En este artículo presentamos una experiencia didáctica centrada en el desarrollo de un proyecto de aprendizaje en torno al teatro de sombras con el alumnado de educación infantil. El proyecto giraba en torno a la preparación de la actuación de los grupos de educación infantil en el festival de navidad que se hace el último día de clase, delante de las familias y el resto de compañeros. La maestra de psicomotricidad decidió probar con un recurso nuevo este año: la dramatización de cuentos infantiles a través del teatro de sombras. En este trabajo presentamos las razones por las que surge el proyecto, como lo llevamos a cabo y una valoración final sobre su desarrollo y el proceso seguido. El objetivo era iniciar al alumnado de Educación Infantil en la dramatización a través del teatro de sombras. Para ello se prepararon tres representaciones durante las semanas anteriores, una para cada curso. Los materiales utilizados son sencillos: un telón blanco, un foco de luz y algunos objetos para ajustar la sombras a los detalles de los cuentos. Hemos comprobado que el alumnado de infantil es capaz de asimilar las técnicas básicas del teatro de sombras y desarrollar representaciones de buena calidad.Abstract: In this article we present a didactic experience centered in a learning project with shade theatre carried out with the pupil of Infant Education.The project developed around the preparation of the performance by Infant Education groups at the Christmas festival. The festival takes part in thelast school day in front of the families and the rest of children. The P.E. teacher decided to try out a new resource this year: the dramatization of childrenstories through shade theatre. In this work we present the reasons why the project arises, the way it was carried out, and a final assessment on itsdevelopment and the whole process. The objective was to initiate Infant Education children in drama through the shade theatre. In order to do thisthree performances were shown during the previous weeks, one for each age level. The materials used are simple: a white curtain, a spot-light and someobjects to adjust the shades to the characteristics of the stories. We have confirmed that the Infant School children are able to assimilate the basictechniques of the shade theatre and to carried out good quality performances.
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Schewe, Manfred. "Taking Stock and Looking Ahead: Drama Pedagogy as a Gateway to a Performative Teaching and Learning Culture." Scenario: A Journal of Performative Teaching, Learning, Research VII, no. 1 (January 1, 2013): 5–23. http://dx.doi.org/10.33178/scenario.7.1.2.
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This overview article initially focuses on early connections between dramatic art, teaching, learning, and living, followed by a brief account of how Great Britain took on a pioneering role with regard to the establishment of drama as a school subject, method and educational sub-discipline. It then focuses on how drama pedagogy in foreign language teaching and learning has developed as a specific field of research and practice since the 1970s, acknowledging the important contributions to the field made by scholars and practitioners from outside Great Britain. An overview of current practice in the field is given by presenting different (small-scale and large-scale) forms of staging language, literature and culture. The article concludes by proposing a model for a „Performative Fremdsprachendidaktik“ (Performative Foreign Languages Didactics) and by arguing that in the future “performative” be used as an umbrella term to describe forms of foreign language teaching and learning that derive from the performing arts.
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Smid, Deanna. "Broken Lutes and Passionate Bodies in A Woman Killed with Kindness." Renaissance and Reformation 38, no. 2 (October 5, 2015): 93–120. http://dx.doi.org/10.33137/rr.v38i2.25621.
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Thomas Heywood’s 1607 play, A Woman Killed with Kindness, ends with the protagonist, Frankford, discovering the lute of Anne, the wife he has just banished for adultery. Grieved by the sight of the instrument that he conflates with his marriage and with Anne herself, Frankford exiles the lute along with his wife. When she receives the instrument, Anne plays a lament, then directs her coachman to “go break this lute upon my coach’s wheel, / As the last music that I e’er shall make” (16.69–70). Shortly following the destruction of the lute, Anne dies. Anne’s body and memory, clearly, are inextricably linked to the lute: in the drama, her body is a musical instrument that she can play, that can be played upon, and that can be destroyed. The lute as body metaphor is a common image in early modern English literature, and Heywood both uses and complicates the metaphor. The lute, first, demonstrates Anne’s impossible and paradoxical identity as a chaste wife, noblewoman, and possible prostitute. Moreover, the lute emphasizes Anne’s powerlessness over her own body, particularly her humours. Like other characters in the play, Anne had let her bodily passions control her, but when she breaks the lute, she breaks also her passions’ power over herself and others. Yet when she destroys the lute, she does not abandon music altogether, for music can bring about powerful social harmony. Instead, she plays her own body as a musical instrument, which makes her self-slaughter instructive rather than destructive. Her death is didactic for the audience—both onstage and in the theatre—that gathers around her deathbed, and suggests a variety of means of controlling the passions, some of them more deadly than others. In A Woman Killed with Kindness, Anne’s music is an exemplar of the extraordinary efforts necessary to quell the unruly passions that cause so much of the conflict in the play.
La pièce de Thomas Heywood, A Woman Killed with Kindness (1607), se termine lorsque le personnage principal, Frankford, découvre le luth d’Anne, l’épouse qu’il vient de bannir pour cause d’adultère. Attristé par la vue de cet instrument qu’il associe à son mariage et à Anne elle-même, Frankford exile le luth en compagnie de sa femme. Lorsqu’elle reçoit l’instrument, Anne joue une complainte, puis fait écraser son luth sous les roues d’une diligence, renonçant ainsi à sa musique. Elle meurt peu après. Son corps et sa mémoire sont manifestement liés, de façon intime, au luth : dans le drame, son corps est un instrument de musique dont elle peut jouer, sur lequel autrui peut jouer, et qui peut être détruit. Le luth est une métaphore du corps courante dans la littérature anglaise de l’époque; Heywood utilise cette métaphore tout en la compliquant. En premier lieu, le luth figure l’impossible et paradoxale identité d’Anne : chaste épouse, noble dame et, virtuellement, prostituée. Qui plus est, le luth souligne l’incapacité d’Anne à contrôler son propre corps, surtout ses humeurs. Comme d’autres personnages de la pièce, Anne a perdu la maîtrise de ses passions charnelles, mais en détruisant le luth elle détruit aussi l’emprise de ses passions sur elle-même et sur les autres. Cependant, lorsqu’elle détruit le luth, elle ne renonce pas totalement à la musique, car la musique peut engendrer une forte harmonie sociale. Elle joue plutôt de son propre corps comme d’un instrument de musique, faisant de son suicide davantage une instruction qu’une destruction. Sa mort a une valeur didactique pour ceux qui le regardent (tant de la scène que des gradins du théâtre), assemblés autour de son lit de mort; il laisse entendre que plusieurs méthodes permettent de maîtriser les passions, certaines étant plus mortelles que d’autres. Dans A Woman Killed with Kindness, la musique d’Anne symbolise la peine extraordinaires pour imposér une discipline aux passions sans règle, à la source de tant de conflits dans la pièce.
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Turk, Yasemin, and Selahattin Arslan. "Examining Creative Drama Based Mathematics Course with Respect to Theory of Didactical Situations in Mathematics." Procedia - Social and Behavioral Sciences 46 (2012): 4782–85. http://dx.doi.org/10.1016/j.sbspro.2012.06.334.
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Filipa Santos Mateus, Raquel, Maria Helena Lopes Damiao da Silva, and Mª Isabel Ferraz Festas. "UM PROGRAMA DE EDUCAÇÃO ESTÉTICA E ARTÍSTICA NO 1.º CICLO DO ENSINO BÁSICO." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 2, no. 1 (September 18, 2016): 233. http://dx.doi.org/10.17060/ijodaep.2014.n1.v2.435.
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Abstract:AN AESTHETIC AND ART EDUCATION PROGRAM IN ELEMENTARY EDUCATIONThe aesthetic and artistic education is a declared purpose in Portuguese educational system, and is commonly accepted its importance in the development of the personality, as an area of knowledge, which requires capture, interpretation and fruition of the subject, who involves in the (re)construction of meanings (Bronowsky, 1983). Lots of empirical data show that this area contributes to the integrated development of affective, cognitive and motor abilities (Delacruz et al, 2009), allowing the access of multiple skills, such as the integration of different languages, which allow a critical reading of the world (Marques, 2011). However, its implementation is relegated to second rank in relation to other disciplinary areas. Seeking redress this dissent was created and implemented the Aesthetic and Art Education Program, which is based in a specific conceptualization (fruition-contemplation, interpretation-reflection, experimentation-creation) and mobilizes several institutions and multiple educational agents. To consolidate this Program in school context was developed a Training Programme for Teachers. Our approach focuses in the elementary education, in which the Aesthetic and Art Education Program is materialized in the disciplinary area of Expressions: Plastic Arts and Visual Education, Musical Education and Expression, Theatre Expression/Drama and Dance (Department of Basic Education at the Ministry of Education, 2004). It is an approach that is realized through the pedagogical-didactic of the implementation of the Program and by the evaluation of its impact, in terms of learning (student´s development) and teaching (teacher´s performance). Our study is in an exploratory stage, materialized in semi-structured interviews to teachers. However, the firs results show that the subjects consider the aesthetic and artistic education essential to the student´s development, but the hourly amount associated to it is not enough. The participants also underline that the curricular program in the area of Expressions needs to be suitable in relation to the school context.Keywords: Aesthetic and Art Education Program, Elementary Education, ExpressionsResumo:A educação estética e artística constitui um propósito do sistema de ensino português, sendo aceite a sua importância na formação da personalidade, como área de conhecimento que requer captação, interpretação e fruição do sujeito que, de modo muito particular, se envolve na (re)construção de significados (Bronowsky, 1983). Vários dados empíricos demonstram que esta área contribui para o desenvolvimento integrado de capacidades afetivas, cognitivas e motoras (Delacruz et al, 2009), possibilitando o acesso a uma pluralidade de saberes, bem como a integração de linguagens diferenciadas, que permitem uma leitura crítica do mundo (Marques, 2011). No entanto, a sua concretização é frequentemente secundarizada no currículo relativamente a outras áreas curriculares. Procurando colmatar este dissenso, foi construído e implementado o Programa de Educação Estética e Artística, que assenta numa conceptualização precisa (fruição-contemplação, interpretação-reflexão e experimentação- criação), e mobiliza, a nível nacional, várias instituições, envolvendo uma multiplicidade de agentes educativos. Para consolidar este Programa em contexto escolar, foi desenvolvido um Plano de Formação de Professores. A nossa abordagem centra-se no 1.º Ciclo do Ensino Básico, onde o Programa de Educação Estética e Artística se concretiza na área disciplinar de Expressões – Expressão Plástica e Educação Visual, Expressão e Educação Musical, Expressão Dramática/Teatro e Dança (Departamento da Educação Básica do Ministério da Educação, 2004). Trata-se de uma abordagem que se concretiza no acompanhamento pedagógico-didático da aplicação desse Programa e na avaliação do seu impacto, tanto em termos de aprendizagem (do desenvolvimento dos alunos) como de ensino (no desempenho dos docentes). Estando numa fase exploratória, concretizada em entrevistas semi-estruturadas a professores, os primeiros resultados indicam que estes sujeitos consideram que a educação estética e artística é essencial para o desenvolvimento dos alunos, mas a carga horária que lhe está destinada não é suficiente. Salientam, ainda, que o programa curricular no âmbito das Expressões necessita de adequação aos terrenos educativos.Palavras-Chave: Programa de Educação Estética e Artística, 1º Ciclo do Ensino Básico, Expressões
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Takao, Makoto Harris. "Francis Xavier at the Court of Ōtomo Yoshishige: Representations of Religious Disputation between Jesuits and Buddhists in La conversione alla santa fede del re di Bungo giaponese (1703)." Journal of Jesuit Studies 3, no. 3 (June 8, 2016): 451–74. http://dx.doi.org/10.1163/22141332-00303006.
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Throughout the seventeenth and eighteenth centuries, exotic tales of conversion and martyrdom set in Japan played out upon the Jesuit stages of Europe. It is in this way that Japan’s Christian Century (1549–1639) endured in the Jesuit mind as a source of spiritual and creative inspiration. The development of the “Japanese genre” in the acted and musical dramas of the historical Society of Jesus is a scarcely travelled road of research. In exploring this unique performance tradition, the article presents an analysis of the only known example of an oratorio based on a solely Japanese theme: La conversione alla santa fede del re di Bungo giaponese (1703). The article addresses the oratorio’s literary genealogy in order to identify the librettist’s didactic intention. In so doing, the representation of theological disputations between the Jesuits and the various sects of Buddhist priests in the mid-sixteenth century is reconstructed and examined.
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Martínez-Salanova-Sánchez, Enrique. "Cinema resources to teach and learn." Comunicar 10, no. 20 (March 1, 2003): 45–52. http://dx.doi.org/10.3916/c20-2003-07.
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The author thinks that cinema has to be used at school, but he also thinks that it can´t be used as a didactic or motivational resource because the role played by cinema in History is so important that we have to consider it as culture, art, spectacle... Utilizar el cine en las aulas no se hace por simple juego, ni por entretenimiento, ni tan siquiera como un instrumento didáctico más. El cine tiene el valor en sí mismo de ser transmisor de dramas humanos. Desde sus inicios, los relatos que cuenta el cine han afectado a generaciones de personas mediante sus argumentos, sus contenidos, sus imágenes y sus ideas. El cine es cultura popular, arte y espectáculo. Las tramas y los temas del cine pueden y deben ser llevados a las aulas como elemento reflexivo y, por ende, orientador de comportamientos. En este artículo se presentan algunas pautas para utilizar el cine en las aulas y se fundamenta su necesidad e importancia en la función orientadora. Se incide en el valor de aprender de los otros, en la importancia del análisis de películas, en la introducción en los grandes temas que trata el cine y en su importancia en la adquisición de la sensibilidad hacia valores expresivos, cognoscitivos y creativos.
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Hoszowska, Mariola. "Bronisław Gorczak – historyk i wołyński archiwista (1854–1918)." Archeion, no. 121 (2020): 239–70. http://dx.doi.org/10.4467/26581264arc.20.009.12966.
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Bronisław Gorczak – historian and Volhynia archivist (1854–1918) Bronisław Gorczak (1854–1918) was a Leopolitan and a student of Ksawery Liski (1838–1891), who created a school of “didactic” type in Lviv. This gifted graduate of the Franciscan University was employed in the early 1880s by Prince Roman Damian Sanguszko as a conservator of the archives in Slavuta, Volhynia. Not only did he organize and did an inventory of rich archival collections, but he also prepared source publications financed by the prince and monographs of the Sanguszko family. At the beginning of the 1890s, he also took over the management of the Slavuta library. The previously unused correspondence of Gorczak with his Lviv friend and a professor at the University of Lviv, Ludwik Finkel (1858–1930), allows us to ask questions not only about the individual fate of the Volhynia historian and archivist, his ambitions, cares and dramas, but also to treat him as a representative of a guided by specific ethics in the performance of their professional duties. It was influenced by political, socio-economic conditions and ideological currents in Poland after 1864. Gorczak tried to realize the values he had reinfused during his studies in Lviv. Critical of the surrounding reality, he managed to preserve much of youthful idealism and faith in the sense of the work of a historian and archivist.
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Hoszowska, Mariola. "Bronisław Gorczak – historyk i wołyński archiwista (1854–1918)." Archeion, no. 121 (2020): 239–70. http://dx.doi.org/10.4467/26581264arc.20.009.12966.
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Bronisław Gorczak – historian and Volhynia archivist (1854–1918) Bronisław Gorczak (1854–1918) was a Leopolitan and a student of Ksawery Liski (1838–1891), who created a school of “didactic” type in Lviv. This gifted graduate of the Franciscan University was employed in the early 1880s by Prince Roman Damian Sanguszko as a conservator of the archives in Slavuta, Volhynia. Not only did he organize and did an inventory of rich archival collections, but he also prepared source publications financed by the prince and monographs of the Sanguszko family. At the beginning of the 1890s, he also took over the management of the Slavuta library. The previously unused correspondence of Gorczak with his Lviv friend and a professor at the University of Lviv, Ludwik Finkel (1858–1930), allows us to ask questions not only about the individual fate of the Volhynia historian and archivist, his ambitions, cares and dramas, but also to treat him as a representative of a guided by specific ethics in the performance of their professional duties. It was influenced by political, socio-economic conditions and ideological currents in Poland after 1864. Gorczak tried to realize the values he had reinfused during his studies in Lviv. Critical of the surrounding reality, he managed to preserve much of youthful idealism and faith in the sense of the work of a historian and archivist.
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Morska, Liliya. "TEACHING INTERCULTURAL COMMUNICATIVE COMPETENCE: THEORETICAL BACKGROUND." АRS LINGUODIDACTICAE, no. 2 (2018): 12–18. http://dx.doi.org/10.17721/2663-0303.2018.2.02.
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Background. The goal of teaching a foreign language has always been the issue of debates in language teaching methodology. With emergence of Competence-based Approach the idea of teaching communicative competence became quite persuasive in this respect. Though, it can often be heard in teaching circles that language is culture and we should teach the language as part of culture. Therefore, witnessing the shifts in the goal of learning English as to enable learners to communicate their ideas and culture with not only native English speakers but also those of other cultures, the question of intercultural communication is inevitably indispensable in English language learning as far as students’ communicative competence development is of primary concern. Purpose. The purpose of the paper is to analyze the essential issues of the intercultural communicative competence structure and to define theoretical background for developing the didactic model of teaching this competence. Discussion. The article discusses theoretical background of pragmatic aspects of teaching intercultural communicative competence to Ukrainian speaking students in ESP educational surrounding. The author presumes that the learners of English will be more likely to use the language for interaction with non-natives rather than the native speakers. A noteworthy fact is that intercultural communication training promotes expansion of worldviews, strengthens motivation for language learning, enhances intercultural communication skills, improves content of foreign language education etc. To enhance the potential of foreign language classes in terms of developing intercultural communicative competence, it is significant to encourage students into participation in the network-based international language learning projects aimed at developing collaboration with the students from a variety of cultures using the same foreign language. Results. It has been found out that the most effective activities for teaching intercultural communication are cultural assimilations, cultural capsules, mini-dramas, role-plays, social and cultural tasks, use of media, training, comparative and project technology. The assessment tools include tests, portfolios, observation, interviews, diaries, reports etc. They will help objectively identify the level of knowledge and skills as well as readiness for the intercultural interaction. Perspective for further studies is seen in the development of the model of teaching this competence to ESP students. The system of exercises to correlate with the model is to be developed as well.
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Aitken, Leslie. "Gabby, Drama Queen by J. Grant." Deakin Review of Children's Literature 3, no. 4 (April 25, 2014). http://dx.doi.org/10.20361/g22021.
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Grant, Joyce. Gabby, Drama Queen. Illus. Jan Dolby. Markham, Ontario: Fitzhenry and Whiteside, 2013. Print.This book is best described as “busy.” The plot is both imaginative and complex, busying itself with a subplot—a play within a story, and incorporating spelling and phonics as integral elements of the text. The book features appended activity pages.Briefly, the protagonists, Gabby and Roy, become actors, bringing their stage and props into existence through the magic of letters spilled from a picture book Conveniently, they create a stage, a crown, and a stream. Children will probably not notice (but reading teachers will) that the story is a good introduction to lessons on consonant blends.The illustrations are cheerful, whimsical, and, once again, busy; they should engage a child’s attention. Still, regarding the beginning reader, the book is inherently problematic. The child who is only just beginning to sound out and spell the words “crown” and “stream” will not be able to read independently such sentences as “Queen Gabriella swanned dramatically onto the stage.”If the book is to fulfill its dual purposes of instructing and entertaining the child reader, its first reading, at least, will require adult assistance. This reviewer would suggest de-emphasizing the didactic elements, and letting the playfulness of the storyline carry the day. Reviewer: Leslie AitkenRecommended: 3 stars out of 4Leslie Aitken’s long career in librarianship involved selection of children’s literature for school, public, special, and university collections. She is the former Curriculum Librarian at the University of Alberta.
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Aure, Venke, Karin Brunvathne Bjerkestrand, and Anna Songe-Møller. "Emancipatory Theatre and Performative Didactics." Nordic Journal of Art and Research 2, no. 2 (December 17, 2013). http://dx.doi.org/10.7577/information.v2i2.733.
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This article is based on several years of empirical observation, gathered from theatre practice, in which Karin B. Bjerkestrand and Anna Songe-Møller developed what is known as “Solidarity Forum Theatre” (SFT), a form of applied drama. This theatre form is based primarily on the Brazilian, Augusto Boal’s, Theatre of the Oppressed (Boal, 2006). Bjerkestrand and Songe-Møller used and further developed Boal’s theatre principle in a collaboration with various immigrant groups and drama-/theatre students. The intention has been to use the liberating potential into which this form of theatre invites us. In this article, Bjerkestrand and Songe-Møller present the theoretical groundwork, the underlying principles, and examples of SFT in action. One of the participants’ stories in particular have been used to concretize the liberating aspect that arose in the theatre experiences. In relation to this Solidarity Forum Theatre practice, science theorist and art educator Venke Aure presents epistemological and didactic reflections.
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Wiśniewska-Grabarczyk, Anna. "Theatre and Drama of Socialist Realism in the Context of Cryptotexts (Based on MKiS and WUKPPiW Material)." Acta Universitatis Lodziensis. Folia Litteraria Polonica 37, no. 7 (July 5, 2016). http://dx.doi.org/10.18778/1505-9057.37.06.
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The main goal of the article is to offer a description of cryptotexts of theatre staging handbooks and dramatic works created in Poland during the socialist realism period. A cryptotext is a secret text which is the result of a purposeful act of subterfuge. In the article, I present selected cryptotexts – reviews produced in the Ministry of Culture and Art (MKiS) and censorship reviews of the dramatic works submitted for evaluation to the Voivodship Control Bureau for Press, Main Office of Control of Press, Publications and Shows (WUKPPiW). The archives contain evaluation of works which have been published in subsequent years as well as those which remained only in their draft form. Analysis of the evaluations of ministry officials reveal the mechanisms for allowing and withholding submitted dramatic works and a theatre staging handbook which shows the practices of publishing theatrical works. An analysis of different evaluations of the same text allows for a hypothesis that the main aim of cryptotexts was the evaluation of ideological correctness of submitted works. Despite this main function it is possible to point out specific passages in the statements by the WUKPPiW officials which are similar to statements of Ministry officials. In both cases the evaluation pertains to the content and the planned fulfilment of the work and plays mainly a didactic function.
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Zoppellari, Anna. "Littérature des Français du Maghreb et métissage linguistique Les cas de Jean Pélégri et Jean-Pierre Koffel." 22 | 2020, no. 1 (December 22, 2020). http://dx.doi.org/10.30687/tol/2499-5975/2020/22/034.
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The literary work of Jean Pélégri and Jean-Pierre Koffel presents two different ways of rendering the richness of linguistic mixing in colonial and post-colonial Maghreb. For both of them, it is a question of making the various communities living in the area talk by building a bridge that seems to have its origin in the Mediterranean poetics of the École d’Alger, but which tends to integrate into a profoundly Maghreb literature. Both use a French language marked by the different languages that characterise the Maghreb. However, in Pélégri this attempt originates from the need to respond to the drama of the war and the separation from Algerian territory ; in Koffel it starts from the need to respect the codes of the police, making the everyday life and the familiarity of the Moroccan and French speakers of Morocco, but opening up to a linguistic analysis that crosses the lines of the text, almost wanting to mix didactic motivations and meta-textual play.
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Gerega, Mariia. "The program piano cycle O. Gerasymenko "The Light of Awakened Dreams" from the standpoint of mastering polystylistic synthesis and sound terrain." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2018, 148–58. http://dx.doi.org/10.33398/2310-0583.2018.4243.148.158.
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Oksana Gerasymenko's Piano Cycle "The Light of Awakened Dreams" is considered as a promising educational material in classes on a specialized piano for the use of both individual plays and a cycle in general for the formation of a significant body of performing skills and techniques. It reflects the richness of stylistic tendencies and polytheisticism, inherent in its individual composer style. The cycle of O. Gerasymenko makes it possible to comprehend the richness of syntheses of genre features of the academic and pop-jazz spheres, the clarity of structures and free open forms, the clear separation of the functions of textural layers, and the constant change in sound density and relief, extended tone, modality and sinoric. The didactic tasks in the work include the metro-rhythmic, the positional difficulties, the problems of sound formation, the ratio of sound reliefs and background-sono-rous sounds, the aspects of pedaling, the achievement of the integrity of the melodic line, set out by interval duplications, timely poly-instrumental weights (flutes, harps, etc.), the feeling of drama of the deployment of the form without solving these accomplishments impossible to comprehend the artistic whole, defined by the author's program. Positive didactic qualities of the cycle are determined by the synthesis of concert and teaching activities, composer professionalism, consistent work on the repertoire of the ensembles and pedagogical needs.
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Obi, EI, and OS Akujobi. "Evaluating Recommended Literature Texts for Senior Basic Education in Nigeria." UJAH: Unizik Journal of Arts and Humanities 15, no. 2 (February 19, 2015). http://dx.doi.org/10.4314/ujah.v15i2.5.
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The beauty and usefulness of a literary piece lie basically on the author’s diction. The expression, ‘literary art’ stems from the fact that literary artists are able to create interesting works of art by proper manipulation of language(s) that among other things entertain and educate their reading audience. For young minds, literature is not only didactic; it also boosts their language acquisition. In recognition of the crucial roles played by literature, Anambra State Universal Basic Education Board recommended an appreciable number of textbooks for the study of literature in English. These books run from 2010-2011, 2011-2012, 2012-2013 academic sessions. The thrust of this study is to ascertain the grammatical level of the language of some of these texts, particularly the genres of prose and drama. Error analyses of three texts namely: Decree of the gods, Wishful Bliss and That’s My Girl randomly selected from basic 7-9 were carried out. Concord incongruity, omission/superfluous use of articles and misuse/omission of pronouns were specifically sought for. A simple survey design was adopted for the study and the errors were collated, analyzed and classified based on their types-syntactic, morphological, and concord errors. The study reveals that the texts are replete with concord errors, misuse of articles, omission and improper application of prepositions in structures. The implication of the findings in the teaching and learning of English is discussed and suggestions for improvement made.Key words: Literary art(ist), Language acquisition, Grammatical level, Error analysis, Concord incongruity, Articles and Pronouns
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Aitken, Leslie. "Gabby Wonder Girl by J. Grant." Deakin Review of Children's Literature 7, no. 1 (July 31, 2017). http://dx.doi.org/10.20361/g2sd5t.
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Grant, Joyce. Gabby Wonder Girl, illustrated by Jan Dolby. Fitzhenry and Whiteside, 2016Rising again from Joyce Grant’s imagination, Gabby and Roy, “the dynamic duo,” star in this language development picture book. This time, their creator’s didactic purposes are disguised in the story of Mrs. Oldham’s rescue from an apple tree. The primary focus of the lesson underlying their adventures is the concept of interrogatives: “who,” “where,” “how.” The sounds and shapes of the letters that comprise these words are explored. Other words germane to the story, “mask,” “pie,” are also decoded. The final two pages of the work contain follow-up games and activities.As in Grant’s 2013 work, Gabby Drama Queen, the clear intent is that the young child engaged in the story will be guided by an adult who reads the text and focuses attention on the lesson. Consider the following example:When she was safely on the ground, Mrs. Oldham plucked a “P” from the poppies, inserted an “i” that was inside the inuksuk, and ended with an “e” from the elf to make…”pie.”Obviously, any reader who can cope, quite independently, with the complex structure of this sentence and, as well, the meaning of such words as “inserted” and “inuksuk,” is unlikely to need help spelling the word “pie.” (In fact, a child who has come this far in his or her reading is likely to be intellectually beyond Gabby Wonder Girl.) The publisher suggests, very reasonably, that the book would be suitable for five to seven-year-olds.Jan Dolby’s illustrations support this view. They are cartoon-like, larger than life, boldly delineated and humorous. Tracking the highlighted letters and words through the pages of her bright and busy drawings should engross and delight young children. Long before they are taught to parse a sentence (Is that even done anymore?) they can be introduced to the idea that language has structure. Such a purpose is commendable; so is the book. Highly Recommended: 3 out of 4 starsReviewer: Leslie Aitken Leslie Aitken’s long experience as a librarian involved selection of children’s literature for school, public, special, and academic libraries. She is a former Curriculum Librarian for the University of Alberta.