Journal articles: 'Dramatic writing'

1

Nielsen, Kirsten. "Is 6:1–8:18∗ as dramatic writing." Studia Theologica - Nordic Journal of Theology 40, no. 1 (1986): 1–16. http://dx.doi.org/10.1080/00393388608600039.

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Crochunis, Thomas C. "Women and Dramatic Writing in the British Romantic Era." Literature Compass 1, no. 1 (2004): **. http://dx.doi.org/10.1111/j.1741-4113.2004.00094.x.

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Sánchez, Rebecca M. "Performing School Failure: Using Verbatim Theatre to Explore School Grading Policies." LEARNing Landscapes 13, no. 1 (2020): 203–17. http://dx.doi.org/10.36510/learnland.v13i1.1015.

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This article describes how dramatic writing and performance practices can be used to reshape qualitative interview data into a verbatim theatre performance with the intent of drawing attention to social movements in education. The performance described in the article reveals the consequences of a punitive educational policy agenda and addresses the emotional toll school grading and other neoliberal policies have had on teachers at a school in the southwestern United States. A primary objective is to examine and explore how verbatim dramatic writing and performance tactics can amplify current issues and social dilemmas and evoke an emotional response in the absence of dramatic action. The methods of writing a script from qualitative data are presented for other scholars and educators who intend to create performances from data.

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Honeyford, Michelle A., and Wayne Serebrin. "Staging Teachers’ Stories: Performing Understandings of Writing and Teaching Writing." Language and Literacy 17, no. 3 (2015): 60. http://dx.doi.org/10.20360/g28w2p.

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In response to concerns about declining writing instruction in K-12 classrooms, this qualitative interview study draws on ethnodrama to better understand teachers’ experiences teaching writing in one Canadian province. Through dramaturgical coding of 21 transcripts, we examine teachers’ objectives, conflicts, and tactics in teaching writing, as well as the significant role of educators’ subjectivities as writers and writing teachers, the settings in which they work, the people who influence their thinking and practice, and their engagement in reflexive inquiry. Two dramatic vignettes explore these themes. We then discuss implications for creating a province-wide professional learning network in critical writing pedagogies.

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Wes Davis. "Writing in Sand: The Dramatic Art of Jack B. Yeats." Princeton University Library Chronicle 68, no. 1-2 (2007): 399. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0399.

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Parisse, Lydie. "Le théâtre intérieur de Maurice Maeterlinck dans La Mort de Tintagiles." Cahiers ERTA, no. 21 (2020): 83–97. http://dx.doi.org/10.4467/23538953ce.20.005.12026.

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Maeterlinck`s Innertheater in Tintagile`s death Tintagile’s death (1894) is an etape in the Maeterlinck’s work. This drama bears the strong imprint of a decisive évent in the life of the author : the discovery of the writings of the médieval Flemish mystic Ruysbroeck, of wich he became the translator from 1885 to 1888. The langage of mysti‐ cism allows a renowal of writing and dramatic aesthetics.

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Troha, Gašper. "can you hear me? by Simona Semenič and the question of no-longer-dramatic writing." Theatre and Community 9, no. 2021-1 (2021): 104–20. http://dx.doi.org/10.51937/amfiteater-2021-1/104-120.

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In the article, the author analyses three plays by Simona Semenič that were published in the book can you hear me? (2017). At first sight, the three pieces appear to be written in Semenič’s now-familiar writing style with no punctuation marks or upper-case initials and no apparent division between dialogues and stage directions. Content-wise, however, the three plays differ significantly from the bulk of the playwright’s opus as they represent autobiographical texts which once again establish the character and more or less distinct dramatic action. The article focuses on two questions: Are these still no-longer-dramatic texts? And, what is the status of representation and performativity in them? By analysing the formal and content properties of the three texts, more precisely, through an analysis of the drama character, the relationship between dialogue and monologue and dramatic action, the author shows that indeed these texts establish recognisable dramatic characters and relatively strong dramatic action. In this, they move away from no-longer- dramatic texts as defined by Gerda Poschmann, even though their legacy is still very much present, e.g., in the fragmented writing style.

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Varotsis, George. "The plot-algorithm for problem-solving in narrative and dramatic writing." New Writing 15, no. 3 (2017): 333–47. http://dx.doi.org/10.1080/14790726.2017.1374414.

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Irish, Bradley J. "Writing Woodstock: The Prehistory of Richard II and Shakespeare’s Dramatic Method." Renaissance Drama 41, no. 1/2 (2013): 131–49. http://dx.doi.org/10.1086/673905.

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Ingram, Claudia. "Writing the crises: The deployment of abjection in Ai's dramatic monologues." Lit: Literature Interpretation Theory 8, no. 2 (1997): 173–91. http://dx.doi.org/10.1080/10436929708580198.

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Bouchard, Nancy. "A Narrative Approach to Moral Experience Using Dramatic Play and Writing." Journal of Moral Education 31, no. 4 (2002): 407–22. http://dx.doi.org/10.1080/0305724022000029644.

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Beh, Emmerencia Sih. "Dramatic shift: Conservative to Avant-garde in Sarah Kane’s “4.48 Psychosis”." Religación. Revista de Ciencias Sociales y Humanidades 6, no. 28 (2021): 142–53. http://dx.doi.org/10.46652/rgn.v6i28.792.

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Drama is a genre in literature that recreates not only existing actions but also interprets the different versions of truth put on stage. Sarah Kane, a dramatist, is usually associated with the new theatrical form of writing called the in-yer-face theatre. Kane, after writing her last play, 4.48 Psychosis commits suicide. For this reason, many critics consider this play as a ‘suicide notes’ which makes it limiting since these critics do not pay attention to her extensive use of styles and her experimental shift from conservative to avant-garde dramatic constructions. While her earlier works Blasted, Phaedra’s Love and Cleansed were centred principally on shock irritating violent and relatively hostile metaphors, the style of her two last plays Crave and 4.48 Psychosis shifts blatantly as they are written in a conspicuously poetic style. Her last play which is the focus of this study swings from conventional to unconventional style of writing given that she deviates from the classical presentation of drama. This study uses the theoretical backdrop of Postmodernism for its analysis. The paper demonstrates that analysing 4.48 Psychosis in connection to Kane’s life and death is restrictive and biased as it procures a plethora of innovative scopes.

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13

Williams, Gareth. "Ovid's Canace: Dramatic Irony in Heroides 11." Classical Quarterly 42, no. 1 (1992): 201–9. http://dx.doi.org/10.1017/s0009838800042695.

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Heroides 11 has long enjoyed a favourable reputation among critics, largely because Ovid appears to show a tactful restraint in his description of Canace's last moments and to refrain, for once in the Heroides, from descending into what Jacobson terms ‘nauseating mawkishness’. Despite appearances, however, Ovid's wit is not entirely extinguished in this poem, for a devastating irony accompanies the certainty of Canace's imminent death. My objective is to demonstrate the nature of this irony by adopting a methodological approach which owes much to Kennedy's analysis of Heroides 1 in the light of the later books of the Odyssey. Kennedy's argument – that without knowing it Penelope is about to give her letter to its intended addressee – is based on two premises which are postulated by the epistolary mode of the poem. The first is that we are to imagine Ovid's heroines writing at a specific moment within a dramatic context; the second is that they have a specific motive for writing at that moment. In Kennedy's hands, this approach assumes the privileged position of the reader of Heroides 1 who, through access to the Odyssey, is alive to the ironies which Ovid's Penelope cannot realize. I propose to establish a similarly privileged position for the reader of Heroides 11, a position from which Canace's death can be seen to be both ill-timed and unnecessary. The key to identifying the ironic circumstances of Canace's death lies in reconstructing the background to the Canace and Macareus myth and the possible precedents which Ovid drew on in his treatment of the story. The situation is more complex than in the case of Heroides 1, however, since the literary sources familiar to Ovid and his readers have, in this instance, largely been lost to us and can only be reconstructed from fragmentary evidence.

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Torrance, Isabelle. "Writing and self-conscious mythopoiēsis in Euripides." Cambridge Classical Journal 56 (2010): 213–58. http://dx.doi.org/10.1017/s1750270500000336.

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Euripides uses a variety of strategies to draw attention to the novelties in his dramatic myth-creation ormythopoiēsis. He does so, for example, through multiple allusions to earlier poets, distinguishing himself from predecessors by acknowledging their influence while simultaneously producing something distinctive. Euripidean novelties are legitimized in several instances through cultic aetiologies. These aspects of Euripidean drama have long been acknowledged. More recently, Matthew Wright has shown how the characters in several Euripidean plays discuss their own myths in a self-conscious manner, a process he terms ‘metamythology’. A technique which has been less studied, however, is Euripides' exploration of the motif of writing and its connection to the act ofmythopoiēsiswithin his work. Scholars who discuss writing in Euripides have done so either within the general context of inherent tensions between oral and written communication in Greek tragedy (or Greek literature), or have focused on the use of letters as dramatic devices. This paper argues that Euripides exploits the motif of writing in a way which is entirely different from the other tragedians, and puts forward the central thesis that writing in Euripides is associated self-consciously and metapoetically with plot construction and authorial control.

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Naito, Jonathan Tadashi. "WRITING SILENCE: Samuel Beckett's Early Mimes." Samuel Beckett Today / Aujourd'hui 19, no. 1 (2008): 393–402. http://dx.doi.org/10.1163/18757405-019001032.

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In the twentieth century, French theatre was dramatically transformed by a reconsideration of the possibilities of mime. However, Samuel Beckett's three early mimes, "Dreamer's Mime A" and and , have not been identified with this phenomenon. This essay argues that rather than being eccentric works, these early mimes were crucial in Beckett's development of a decidedly corporeal dramatic aesthetic. In this respect, he has much in common with his French contemporaries Jacques Copeau and Jean-Louis Barrault, who, through a broadly conceived notion of mime, sought to return the body to the stage.

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Gregory, Melissa Valiska. "Augusta Webster Writing Motherhood in the Dramatic Monologue and the Sonnet Sequence." Victorian Poetry 49, no. 1 (2011): 27–51. http://dx.doi.org/10.1353/vp.2011.0005.

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Evans, Mel. "Style and chronology: A stylometric investigation of Aphra Behn’s dramatic style and the dating of The Young King." Language and Literature: International Journal of Stylistics 27, no. 2 (2018): 103–32. http://dx.doi.org/10.1177/0963947018772505.

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Aphra Behn’s dramatic outputs are recognized for their diversity and responsiveness to trends in Restoration drama. A stylometric approach is used to investigate the linguistic dimension of Behn’s dramatic style, with a particular focus on evidence of chronological change. Quantitative analysis (most frequent words, function words, zeta) suggests that Behn’s drama falls into three periods. A qualitative analysis indicates that the periodization may reflect a change in the construction of Behn’s dramatic worlds, from an abstract psychological focus to a more grounded, interactive and social representation. The study considers the problematic dating of Behn’s tragi-comedy The Young King. Although critical opinion holds that this play was the first that Behn wrote (i.e. pre-1670), the stylometric analysis suggests that Behn heavily revised, or, indeed, penned, the drama in the mid-to-late 1670s, mid-way through her writing career. The paper demonstrates the potential for stylochronometric techniques to complement other linguistic approaches to style, and enhance our understanding of how literary writing evolves.

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Lee, Bridget Kiger, and Patricia Enciso. "The Big Glamorous Monster (or Lady Gaga’s Adventures at Sea): Improving Student Writing Through Dramatic Approaches in Schools." Journal of Literacy Research 49, no. 2 (2017): 157–80. http://dx.doi.org/10.1177/1086296x17699856.

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Drawing on assets-oriented, sociocultural theories of imagination and learning, the authors argue that the improvisational qualities and expanded resources of dramatic approaches to teaching make a positive difference in the quality of and persistence in students’ story writing. The authors describe findings from a controlled quasi-experimental study examining the outcomes of an 8-week story-writing and drama-based program, Literacy to Life, implemented in 29 third-grade classrooms in elementary schools with and without Title I funding located within the same urban school district in Texas. Pre- and post-measures of writing self-efficacy, story building, and generating and revising ideas showed significant positive results, especially for students in schools that receive Title I funding. Research findings and the sociocultural theoretical framework argue for increased resources in support of opportunities for students to practice combinatorial imagination and use cultural knowledge for creative writing, as was made possible through the Literacy to Life program.

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Porter-Vignola, Elyse, Isabelle Daigneault, Patricia Garel, and Serge Lecours. "Evaluation of a Dramatic Writing Workshop in Youth With or Without Psychiatric Disorders." Adolescent Psychiatry 5, no. 4 (2016): 245–56. http://dx.doi.org/10.2174/2210676606666160502125800.

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Walker, Carolyn Ann. "Playing a story: Narrative and writing‐like features in scenes of dramatic play." Reading Research and Instruction 38, no. 4 (1999): 401–13. http://dx.doi.org/10.1080/19388079909558304.

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Tarnopolsky, Oleg. "Creative EFL Writing as a Means of Intensifying English Writing Skill Acquisition: A Ukrainian Experience." TESL Canada Journal 23, no. 1 (2005): 76. http://dx.doi.org/10.18806/tesl.v23i1.79.

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This article describes a classroom technique for improving the writing skills of EFL university students who have chosen English as their major for pursuing future careers as translators from and into English. The technique in question, designed for a creative writing course aimed at such students, was based on: (a) the combination of process and genre approaches to teaching writing; (b) paying special attention to students’ development of the skills of description, narration, and discussion in creative writing; (c) development the skills of commenting and critique; (e) emphasizing peer-reviewing, peer-commenting, and peer-evaluating students’ written works in the course; (e) and ensuring learners’ autonomy in writing by introducing free-choice writing. This technique allowed students to achieve dramatic improvement in their writing skills. The article describes how its introduction not only intensifies students’ development, but also generates positive motivation for writing in English as a foreign language.

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22

Worthen, W. B. "Antigone's Bones." TDR/The Drama Review 52, no. 3 (2008): 10–33. http://dx.doi.org/10.1162/dram.2008.52.3.10.

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Returning to a formative moment in the discourse of performance studies with a glancing dialogue between Richard Schechner and Michael Goldman, this article traces a series of efforts by Benjamin Bennett, Herbert Blau, Elin Diamond, and Stanton Garner, among others, to seize the work of dramatic performance as performance and to develop a critical vocabulary that understands dramatic theatre as an encounter with writing rather than as a reinscription of the archive.

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SUGIERA, MAŁGORZATA. "Beyond Drama: Writing for Postdramatic Theatre." Theatre Research International 29, no. 1 (2004): 6–28. http://dx.doi.org/10.1017/s0307883303001226.

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The article begins with a short description of the current situation in Polish theatre where the traditional understanding of a dramatic text has made the reception of formally innovative European playwriting difficult. On the basis of recent German plays by Rainald Goetz, Dea Loher and Roland Schimmelpfennig, which have been translated into Polish and published but have not yet received significant productions, the article tries to answer two important questions. Firstly, how the postdramatic texts written for avant-garde, feminist and postcolonial theatre during last three decades have influenced plays written for and put on the mainstream stages in the 1990s. Secondly, in what ways the new texts, which in many respects go far beyond the borders of traditional drama, have changed the existing definitions of theatrical mimesis and theories of drama

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Kluwin, Thomas N., and Arlene Blumenthal Kelly. "Implementing a Successful Writing Program in Public Schools for Students Who are Deaf." Exceptional Children 59, no. 1 (1992): 41–53. http://dx.doi.org/10.1177/001440299205900105.

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A 2-year project to improve the writing skills of children who are deaf included instruction for teachers in the process approach to teaching writing. The project encompassed 10 public school programs for students who are deaf and included 325 students in Grades 4–10 and 52 teachers. The project included specific training goals for teachers, a self-report procedure for the teachers, and a data-collection and analysis phase to assess short-term effects on students' writing. Teacher self-reports indicated widespread involvement in the project, and pretest and posttest results showed dramatic improvement in students' writing—particularly in grammatical skills. Scoring systems for students' papers are included.

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Wiandari, Fadhillah. "DRAMATIC MONOLOGUE IN ROBERT BROWNING’S POEM “ANDREA DEL SARTO”." JL3T ( Journal of Linguistics, Literature and Language Teaching) 3, no. 1 (2018): 1–10. http://dx.doi.org/10.32505/jl3t.v3i1.326.

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Robert browning and the form of poetry known as â€œdramatic monologueâ€ inevitably go togather. It is already made known that dramatic monologue is esssentially a narrative spoken by a single character. We are to imagine that it is being listened to but never answered; it is a dialogue of which we are to hear only one side. It gains added effect and dimensions through the characterâ€™s comments on his own story and the circumtances in which he speaks. It is through the single characterâ€™s speech that Browning present the plot, characters and scenes. It is through the words of Andrea that the reader can feel the presence of the plot, characters and scenes. This article tries to describe how Robert Browning handles his three objects in writing dramatic monologue through his poem entitled Andrea Del Sarto.

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Perzo, Laurianne. "The dramatic writing workshop as a mediating practice between literary creation and social phenomenon." RELIEF - Revue Électronique de Littérature Française 14, no. 2 (2020): 102. http://dx.doi.org/10.18352/relief.1096.

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Varotsis, George. "Complex narrative systems and the minimisation of logical inconsistencies in narrative and dramatic writing." New Writing 16, no. 2 (2018): 226–37. http://dx.doi.org/10.1080/14790726.2018.1510971.

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Clark, Shanetia. "Guiding the Noticing: Using a Dramatic Performance Experience to Promote Tellability in Narrative Writing." Clearing House: A Journal of Educational Strategies, Issues and Ideas 85, no. 2 (2011): 65–69. http://dx.doi.org/10.1080/00098655.2011.616918.

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Nixon, Mark. "Beckett – Frisch – Dürrenmatt." Samuel Beckett Today / Aujourd'hui 22, no. 1 (2010): 315–27. http://dx.doi.org/10.1163/18757405-022001022.

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This paper examines the way in which the two Swiss writers Max Frisch and Friedrich Dürrenmatt responded to Beckett's work. Both of these authors profoundly engaged with Beckett's dramatic and novelistic texts in their writings on theatre, and read him as being apart, rather than a part of, the Theatre of the Absurd. Frisch, in particular, was ostensibly interested in, and to a certain degree influenced by Beckett's work. At the same time, this essay charts Beckett's own reading of Frisch and his reactions on seeing his plays in performance. Finally, a shared emphasis on form and autographical writing is examined through a reading of Frisch's novel and Beckett's .

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Michalovič, Peter. "With the Litle Help from Janis Joplin." Slovenske divadlo /The Slovak Theatre 66, no. 4 (2018): 409–23. http://dx.doi.org/10.2478/sd-2018-0025.

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Abstract Shortly before his death Hungarian writer and essayist Péter Esterházy (1950 – 2016) wrote the dramatic text of Mercedes Benz – Historical Revue in two parts for the Slovak National Theatre. In particular, it focuses on the famous noble family Esterházy’s influence in Slovakia. The author of the play had a very strong association with this matter. In his writing Péter Esterházy used a wide range of intertextualities: his literary texts are like the fabric spun from fibres of the autobiography of his own family history, but also fragments of Hungarian and Slovak history, legends, tales, as well as hearsay and myths. The interpreted dramatic text is remarkable because Esterházy, in addition to intertextual recycling of his own texts, also exploits the texts of the Hungarian classic author Imre Madách The Tragedy of Man. The author of the study has focused on clarifying the function, specification and effects of Esterházy’s intertextual writing.

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Rastle, Kathleen, Clare Lally, Matthew H. Davis, and J. S. H. Taylor. "The Dramatic Impact of Explicit Instruction on Learning to Read in a New Writing System." Psychological Science 32, no. 4 (2021): 471–84. http://dx.doi.org/10.1177/0956797620968790.

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There is profound and long-standing debate over the role of explicit instruction in reading acquisition. In this research, we investigated the impact of teaching regularities in the writing system explicitly rather than relying on learners to discover these regularities through text experience alone. Over 10 days, 48 adults learned to read novel words printed in two artificial writing systems. One group learned spelling-to-sound and spelling-to-meaning regularities solely through experience with the novel words, whereas the other group received a brief session of explicit instruction on these regularities before training commenced. Results showed that virtually all participants who received instruction performed at ceiling on tests that probed generalization of underlying regularities. In contrast, despite up to 18 hr of training on the novel words, less than 25% of discovery learners performed on par with those who received instruction. These findings illustrate the dramatic impact of teaching method on outcomes during reading acquisition.

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Rawls, Rene. "The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives, Lajos Egri (1972)." Journal of Screenwriting 11, no. 2 (2020): 230–32. http://dx.doi.org/10.1386/josc_00030_5.

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Review of: The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives, Lajos Egri (1972)Originally published by Simon&Schuster in 1942 as How to Write a PlayNew York: Touchstone, 320 pp.,ISBN-13 978-0-67121-332-9, p/bk, $18.00

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Zangrilli, Franco. "Max Gobbo e la riscrittura fantastica di un periodo rinascimentale." Italianistica Debreceniensis 23 (December 1, 2017): 122–30. http://dx.doi.org/10.34102/italdeb/2017/4645.

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The paper examines thè characteristics of Max Gobbo’s writing in his fantasy novel Alasia - The Iron Maiden. The novel is set in a dystopian XVI century Italy infested by demons, vampires and other strange creatures. The novel unfolds in a clear and flowing prose, supported by a simple and effective writing, expressing thè complexity of a world of darkness, in thè hands of devils. It is full of suspense, of comings and goings, of mythical evocations, as of dramatic moments and a humorous multitone irony.

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Flowers, Betty S. "Virtual and Ideal Readers of Browning's “Pan and Luna”: the Drama in the Dramatic Idyl." Browning Institute Studies 15 (1987): 151–60. http://dx.doi.org/10.1017/s0092472500001917.

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Most of “Pan and Luna” is addressed not to an internal auditor but to what Gerald Prince calls the “virtual reader,” the reader the author imagines himself or herself to be writing to – in the case of “Pan and Luna,” the Victorian reading public. Prince observes:Every author, provided he is writing for someone other than himself, develops his narrative as a function of a certain type of reader whom he bestows with certain qualities, faculties, and inclinations according to his opinion of men in general (or in particular) and according to the obligations he feels should be respected. This virtual reader is different from the real reader: writers frequently have a public they don't deserve. (9)In addition to the distinction between the virtual reader and the real reader, Prince makes a further distinction between the real reader and the ideal reader. From the writer's point of view, “an ideal reader would be one who would understand perfectly and would approve entirely the least of his words, the most subtle of his intentions” (9).

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Reynolds, Paige. "Spectacular Nostalgia: Modernism and Dramatic Form in Kate O'Brien's Pray for the Wanderer." Irish University Review 48, no. 1 (2018): 54–68. http://dx.doi.org/10.3366/iur.2018.0329.

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This essay draws attention to how the avant-garde undertakings of Irish Revivalism, particularly those of the dramatic movement, influenced Kate O'Brien's writing in the wake of high modernism. Published in 1938, Pray for the Wanderer espouses a nostalgia for the widespread, collective political and cultural activities that suffused Irish public life before the ascension of Éamon de Valera. It metabolizes dramatic form to showcase the limitations of the Free State, interrupting the novel's realist plot with extended monologues celebrating individualism. The novel's awkward form can be read as a considered political and ethical gesture pushing the narrative into the domain of modernist difficulty to impede and productively challenge the reader.

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Varotsis, George. "Forking-path routines for plot advancement and problem solving in narrative composition and dramatic writing." New Writing 17, no. 4 (2019): 428–42. http://dx.doi.org/10.1080/14790726.2019.1694952.

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Ihmeideh, Fathi. "The impact of dramatic play centre on promoting the development of children's early writing skills." European Early Childhood Education Research Journal 23, no. 2 (2014): 250–63. http://dx.doi.org/10.1080/1350293x.2014.970848.

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Stone, Robin. "Perfect 10: Writing and Producing the 10-Minute Play, and: Writing Your First Play, and: The Playwright's Guidebook: An Insightful Primer on the Art of Dramatic Writing (review)." Theatre Journal 56, no. 1 (2004): 145–47. http://dx.doi.org/10.1353/tj.2004.0034.

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Guţu, Bogdan Lucian. "Singularity and Multiplication In The Translation of The Dramatic Text." Theatrical Colloquia 10, no. 1 (2020): 148–57. http://dx.doi.org/10.2478/tco-2020-0010.

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AbstractThis text in front of you is the translator’s review, a case study, but also a deep analysis of tragedy Menelao (una tragedia contemporanea) written in 2016 by Davide Carnevali. The playwright sees în Menelaus an anti-hero with aspirations of a hero: recently returned after an exhausting fight, the king of Sparta finds himself sliding into an existential crisis which throws him into an endless depression. The plot follows the journey and the devastating consequences of a psychosis generated by post-traumatic shock caused by the war which the Spartan king survived… Without a doubt, the Italian’s writing method slightly touches the unconventional. Right after the list of characters, before the Prologue, the playwright himself carefully places a stage direction which can be seen as a statement, stating the fact that the acronyms and the temporal incongruities must be considered what they are...nothing! The concept of time does not exist in tragedies, just a glimpse which passes at the same time with the epiphany, or which can expand to the horizon of an end which doesn’t take place, for all eternity.

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Lim, Pei Rong, and Norah Md Noor. "Digital Storytelling as a Creative Teaching Method in Promoting Secondary School Students’ Writing Skills." International Journal of Interactive Mobile Technologies (iJIM) 13, no. 07 (2019): 117. http://dx.doi.org/10.3991/ijim.v13i07.10798.

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Abstract - With the current needs of shaping 21st-century classroom in schools, the use of technology has now become compulsory for teachers to incorporate in the classroom. The exposure to technology is highly necessary for the current generation to prepare them for the future ahead. Digital storytelling is one of the tools available in the market for learning. There is no much research yet found in Malaysia that investigates the usefulness of the digital storytelling in promoting secondary school students’ writing skills. Therefore, this research tries to implement one digital storytelling tool in teaching Writing for English Form 1 and tries to identify the elements of digital storytelling tool that might be able to promote students’ writing skills. This research involved fifteen Form 1 students. The data was collected through four (4) time series tests in a pre-experimental research study. The students’ performance in each treatment were marked according to the Rubrics to Assess Digital Stories and were analysed using Friedman Ranks Test. The finding shows that there is an improvement in students’ performance after four treatments of using the Digital Storytelling tools. For the elements of digital storytelling tool that affected after using the digital storytelling tool, the student respondents always applied six elements: ‘Overall Purpose of the Story’, ‘Dramatic Questions’, ‘Choice of Content’, ‘Pacing of the Narrative’, ‘Quality of the Images’ and ‘Good Grammar and Language Usage’. Furthermore, there is an improvement in student respondents’ post-test marks after four treatments of using Storybird. The study shows a relationship between elements of digital storytelling tool in the four treatments and students’ writing performance in post-test. All of the elements shows a significant relationship with students’ writing performance except for ‘Dramatic Questions’.

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Varino, Sofia. "Liminal politics: Performing feminine difference with Hélène Cixous." European Journal of Women's Studies 25, no. 3 (2018): 293–309. http://dx.doi.org/10.1177/1350506818769918.

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As one of the most influential feminist theorists in Western academic circles, Hélène Cixous is often associated with écriture feminine (feminine writing), a term she coined in 1977, and with a fluid, poetic style both in her essays and in her fiction. This article investigates how Hélène Cixous uses the concept of the ‘feminine’ in her plays as a container for heterogeneity, liminality and difference, mobilizing it to animate feminist strategies that interrupt male, white and/or hegemonic forms of subjectivity. If for Cixous the practice of feminine writing is fundamentally characterized by the desire to create a mode of expression in which (gendered, embodied, racial) difference and otherness would retain their alterity, in dramatic writing she found an especially conducive medium for the realization of that desire. This article examines Cixous’s anti-realist postdramatic works, from her first produced play Portrait of Dora (1976) to her works for Ariane Mnouchkine’s Théâtre du Soleil, in the context of a feminist aesthetics of estrangement, and considers how her plays enact feminist theory’s own movement away from the psychoanalytical discourses of the 1970s and 1980s to postcolonial and materialist critiques. The article employs a range of intersectional critical methodologies for situating Cixous’s dramatic writing within a broader feminist praxis, using the work of feminist performance scholars like Elin Diamond, Rebecca Schneider and Jill Dolan to consider the liminal Other as a precarious feminine figure that Cixous re-inscribes into discourse. Feminine writing, the progressive movement away from realism towards postdramatic theatre, and Cixous’s artistic collaboration with Mnouchkine are each considered as feminist strategies towards a rendition of the subject that can reiterate its otherness on stage. The central argument is that it is the enactment of these strategies in live performance that makes Hélène Cixous’s concept of femininity as liminal difference so relevant for feminist politics today.

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GUÉGO RIVALAN, Inés. "DISTORSIÓN RÍTMICA Y ANAMORFOSIS SENSORIAL: LA LITERARIDAD DE LUCES DE BOHEMIA DESDE EL PRISMA DE LA «PNEUMÁTICA»." Acotaciones. Revista de Investigación y Creación Teatral 45 (December 18, 2020): 15–36. http://dx.doi.org/10.32621/acotaciones.2020.45.01.

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Alain Riffaud’s works suggest a new critical reading of dra- matic prose: offering a distinct interpretation of Luces de bohemia’s prose dynamics through the prism of ‘pneumatics’ (Riffaud, 2007), the present article brings to light the existence, throughout the play, of a specific rhythm in Esperpento dramatic prose, which relates to the notion of sen- sory anamorphosis (visual and auditory), a polymorphous component that underlies the writing. Applying the notions of ‘pneumatics’ and ‘trompe-l’oreille’ (Féron, 2010) to the study of Ramón del Valle-Inclán’s dramatic prose allows to examine the characters’ language energy by articulating the notions of breath and breathing with that of sensory mirage.

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Moodie, Erin K. "Old Men and Metatheatre in Terence: Terence's Dramatic Competition." Ramus 38, no. 2 (2009): 145–73. http://dx.doi.org/10.1017/s0048671x00000564.

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Within the Terentian corpus thesenes(‘old men’) Simo (of theAndria) and Chremes (of theHeauton Timorumenos) enjoy an extraordinary understanding of the conventions of Roman comedy. While slaves in Plautine comedy certainly exhibit similar knowledge of their genre's conventions, as do the young men who are allied with them (one thinks of Charinus' prologue to theMercator), Plautinesenesdo not usually share in this awareness. This paper focuses on theAndria'sSimo and theHeauton'sChremes because—despite their unusual generic knowledge, which each man reveals in several metatheatrical remarks—they nevertheless misinterpret their slaves. Indeed, we shall see that both men's knowledge of the character type of the clever slave leads to their belief that they can control the slaves and see through their attempts at deception. However, in the end both men actually deceive themselves because their knowledge leads them to see deceptions where there are none—to interpret truth as a fiction contrived by their slaves. Interestingly, Simo and Chremes have something else in common: they both appear in plays whose prologues feature references to an unnamed opponent of Terence—themaleuolus uetus poeta(‘spiteful old poet’). This individual is alleged to have charged Terence with (1) mixing the plots of multiple Greek comedies together in the composition of his own plays, and (2) accepting the help of powerful friends in the writing of his comedies.

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Atabaki, Touraj. "Writing the Social History of Labor in the Iranian Oil Industry." International Labor and Working-Class History 84 (2013): 154–58. http://dx.doi.org/10.1017/s0147547913000410.

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Over the course of the twentieth century, Iran has experienced numerous dramatic events and has undergone radical transformations. The country participated in three major wars (1914–1918, 1941–1945, 1980–1988) that caused enormous human suffering and economic damage; two coup détats (1921, 1953) that altered power relations within the military and political elite; and two revolutions (1905–1909, 1978–1982) that led to fundamental changes in social, political, and cultural relations in Iran and beyond. But the event that, perhaps, has had the most significant impact on the history of twentieth-century Iran was the discovery of oil in 1908.

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Foley, Douglas E. "Making the Familiar Strange: Writing Critical Sports Narratives." Sociology of Sport Journal 9, no. 1 (1992): 36–47. http://dx.doi.org/10.1123/ssj.9.1.36.

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Ethnographies of sports are generally thought to be critical if they employ a theoretical perspective that challenges conventional, mainstream views of sports. This paper contends that what makes sports ethnographies critical also depends on the narrative devices used to make such a familiar cultural practice seem strange. Various writings of postmodern ethnographers are reviewed to suggest some promising narrative experimentation that breaks with the earlier scientific realist narrative style. Some elements of a postpositivist definition of science and interpretation are also presented as the philosophical basis of these recent experimentations with narratives. Finally, the author’s own attempt to write a more experimental critical sports narrative on Texas football is contrasted to journalist H.G. Bissinger’s best-seller, Friday Night Lights. The strengths and limits of Bissinger’s “dramatic recall” narrative for creating a more reflexive text are considered. The paper concludes with some provisional suggestions for altering scientific realist narratives with what Van Maanen calls a more impressionist narrative style.

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Hiltunen, Turo. "Intensification in Eighteenth Century Medical Writing." Journal of English Linguistics 49, no. 1 (2021): 90–113. http://dx.doi.org/10.1177/0075424220982649.

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While intensifiers are primarily associated with informal spoken registers, they serve important interpersonal functions also in more formal registers like academic prose. The use of intensifiers in scientific writing has accordingly been explored in Present-Day English, and previous studies have also investigated diachronic changes in this register in Middle and Early Modern English. However, the Late Modern English period remains largely unexplored, despite the fact that at least in medical writing it represents an important transition period both intellectually and textually. To follow up on the trends and developments established in previous work, this paper explores the patterns of intensification in eighteenth century medical writing using Late Modern English Medical Texts (LMEMT; Taavitsainen et al. 2019), which contains a large collection of texts representing different areas of medicine. While the intensifiers that are selected for study are ubiquitous in the data, their frequency varies considerably between individual texts, and this variation is often linked to the characteristics of individual sub-registers. At the same time, the use of intensifiers in this period is characterized by stability rather than dramatic change, despite ongoing changes in the sociocultural context of medicine. Along with providing a detailed investigation of the frequency of the main intensifiers in different categories of medical writing of the period, the analysis describes their co-selection patterns with particular adjectives.

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Varotsis, George. "The role of plotting and action schemata in the consolidation of narrative information in dramatic writing." New Writing 17, no. 2 (2019): 175–91. http://dx.doi.org/10.1080/14790726.2019.1601231.

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Milling, Jane. "“In the female coasts of fame”: women–s dramatic writing on the public stage, 1669-71." Women's Writing 7, no. 2 (2000): 267–93. http://dx.doi.org/10.1080/09699080000200136.

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Le Thi, Nhung, and Thuy Dung La Thi. "A study on using corrective feedbacks in teaching essays at school of foreign languages, Thai Nguyen university." SCIENTIFIC JOURNAL OF TAN TRAO UNIVERSITY 4, no. 9 (2020): 94–100. http://dx.doi.org/10.51453/2354-1431/2018/171.

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The ability of writing is considered as a main communication skill and “a unique asset” in SLA (Chastain, 1998) that language learners should be fully aware of. Methodology in teaching writing therefore has experienced considerable changes in the approach to teaching and assessing learners. Written corrective feedback as a response channel to students’ writings in SLA classrooms has been a topic of inclusive debates and inquiries amongst the scholarly sphere. Contributing to this bulk of controversy, the present study investigates teachers’ perceptions and their students’ attitudes and evaluations as to the practice of error corrective feedback. To collect data, two different questionnaires of suitable reliability were delivered to sample respondents of 12 teachers and 34 students respectively to elicit data catering the study’s purposes. Findings were also triangulated with 5 participant teachers invited for follow up interviews and a comparative reference to previous studies on written corrective feedbacks. The results revealed that there are no dramatic differences in teachers’ attitudes towards the usefulness of written corrective feedbacks. However, when it comes to types and amount of errors they should comment on, teachers’ responses and preference cover a wide spectrum.

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Dayal, Dr Ashok. "Social Hypocrisies in Vijay Tendulkar’s The Vultures." International Journal for Research in Applied Science and Engineering Technology 9, no. 9 (2021): 618–21. http://dx.doi.org/10.22214/ijraset.2021.38028.

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Abstract: Early plays in India were written in Bengali by Bengali writers which were mostly translated into English from Bengali in the 19th century. But drama in English failed to serve a local theatrical habitation, in sharp contrast to plays in the mother tongue (both original and in the form of adaptations from foreign languages); and the appetite for plays in English could more conveniently be fed on performances of established dramatic successes in English by foreign authors. Owing to the lack of a firm dramatic tradition nourished on actual performance in a live theatre, early Indian English drama in Bengal as elsewhere in India grew sporadically as mostly closet drama; and even later, only Sri Aurobindo, Ravindranath Tagore and Harindranath Chattopadhyaya produced a substantial corpus of dramatic writing. Between 1891 and 1916 Sri Aurobindo wrote five complete and six incomplete verse plays. Keywords: exploitation, sexual violence, homosexual, individuall degradation, consciousness, hypocrisies

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Journal articles on the topic 'Dramatic writing'

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