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Journal articles on the topic 'Dramatist Social Vision'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Saleh Hasan Dahami, Yahya. "Arabic Contemporary Poetic Drama: Ali Ahmed Ba-Kathir A Pioneer." Arab World English Journal For Translation and Literary Studies 5, no. 1 (2021): 40–59. http://dx.doi.org/10.24093/awejtls/vol5no1.3.

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Many central playwrights significantly contributed to the progress and advancement of Arabic drama. They were apt to achieve dramatic illustrations in several Arabic countries all the way through ages and places. Still, this study attempts to shed light on an innovator poet-dramatist who represents many cultures and experiences. It aims at displaying the most significant features of renovation associated with the development of the modern Arabic poetic drama that employs history and social problems to present a vision for Arabic literature in the contemporary age. The researcher adopts the cri

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Abe, Olanipekun Emmanuel. "Yoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected Drama." Àgídìgbo: ABUAD Journal of the Humanities 12, no. 2 (2025): 576–89. https://doi.org/10.53982/agidigbo.2024.1202.40-j.

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The history of African oral literature is located in oral tradition which is tied to communal living. African oral literature is a conglomerate of communal traditions that reflect African culture, experiences, and societies. Studies affirmed that Olu Obafemi’s ideological stance and investigation of the society is revolutionary and is geared towards seminal social change. This paper examines the aesthetics of oral literature, and explores the society through the prism of Olu Obafemi’s Naira Has No Gender and Scapegoats and Sacredcows by highlighting the different explication of oral forms port

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Dahami, Yahya Saleh Hasan, and Mohammed Ahmed Mohammed Alzahrani. "Arabic literature: Ali Ahmed Ba-Kathir’s Omar ibn Al-Khattab an epic verse drama (1)." International journal of social sciences and humanities 7, no. 2 (2023): 130–41. http://dx.doi.org/10.53730/ijssh.v7n2.14427.

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This paper attempts to cast light on a leading poet-playwright who signifies several Arabic cultures, proficiencies, and skills. The study aims at revealing to what extent the play Omar is a modern Arabic poetic play. Omar is a historical drama that deals with social problems. Omar presents a vision of Arabic drama in the modern age, but it is also a poetic play. For that, it is the task of the researcher to try to prove that Omar bears several grounds, such as poetic devices and connotative symbols, to be called a poetic drama. The investigator adopts the critical-descriptive method in analyz

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Chaabane, Ali Mohamed. "The African Woman as a Symbol of her Continent in Wole Soyinka’s The Lion and the Jewel." Traduction et Langues 19, no. 2 (2020): 159–75. http://dx.doi.org/10.52919/translang.v19i2.378.

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This paper is intended to offer a feminist reading of Wole Soyinka’s play The Lion and the Jewel by showing that its main women figures are constructed as tropes of Africa rather than being depicted as full-fledged individuals. Besides being deprived of self-determining agency, these women act as symbols who represent the traditional cultural values of Africa, and hence they never attempt to subvert the system of patriarchy which is rationalised by these values. Even more so, they are “idealised” by the dramatist so that they can convey his social vision of the African continent during its his

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Lachman, Michał. "Staging Dystopian Communities: Reimagining Shakespeare in Selected English Plays." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (2022): 103–18. http://dx.doi.org/10.18778/2083-8530.26.07.

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Among the countless afterlives of William Shakespeare’s playwriting there is a strong presence of his visions of state and political powers. In universal, philosophical ways Shakespeare was addressing issues concerning the state power, social organization, hierarchy, and rank in what inevitably were the origins of modern, capitalistic societies. Therefore, many of his powerful images resonate today in the works of contemporary writers who intend to compose stories of utopian or dystopian character which diagnose the condition of modern society. This article aims to present three plays by post-

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Afolayan, Kayode. "Wole Soyinka’s A Play of Giants and King Baabu: The crises between ideology and (social) vision." Tydskrif vir Letterkunde 54, no. 1 (2017): 158–69. http://dx.doi.org/10.17159/tvl.v.54i1.10.

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Any valid inquiry into the meaning of any imaginative writing will lend itself to the salutary credentials of its content and form. This recourse has always created a divide that seeks on the one hand the aesthetic value of the art and on the other its functional or social values. The social themes discernible in the works of many African writers have provided the impetus for an assessment that digs up the social relevance and the ideological slants of such works. For Wole Soyinka, many critics, building on the ideas of Chinweizu, Madubuike and Jemie, have identified a gap between social respo

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Atanda, Yemi. "Nigerian Dramatists and the Postcolonial Dreams: Poetics of Ethnic Unity in Diversity." International Journal of Current Research in the Humanities 27, no. 1 (2024): 384–401. http://dx.doi.org/10.4314/ijcrh.v27i1.24.

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This study examines the ideological persuasions of the pioneer Nigerian dramatists given their penchant to edifying the former British colony. Drawing on primary and secondary data, the study contends that contemporary Nigerian playwrights are steep in their ‘social commitments’ to aspire for a better and unified nation, in the face of ethnic diversities. It critically analyses, John Iwuh’s Birthright and Barclays Ayakoroma’s Castle in the Air, using Ngugi wa Thiong’O’s conceptualization of Liberation and Abiola Irele’s Alienation as a conceptual footing to demonstrate the exceptional social v

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Al-Shammari, Rabee Jameel, Abbas Ali hamza, and Sabeeh Lafta Farhan. "The role of dramatic space in achieving effective urban design." IOP Conference Series: Earth and Environmental Science 1129, no. 1 (2023): 012015. http://dx.doi.org/10.1088/1755-1315/1129/1/012015.

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Abstract This article explores dramatic spaces and their role in the intellectual construction of urban design in contemporary architecture. Dramatic space, and its role in intellectual construction, have become more relevant to the organization of urban design through constituting of high-rise buildings in the city’s photos, memory, and sense formation of events dramas in memories for the city. Contemporary architecture depends on a common principle by all designers in the desire to produce spaces involved by the receiver and help structure human relations by checking drama in their spaces to

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Kumar, Manivendra, and Ananya Ghoshal. "Social Reform in the Plays of Mohan Rakesh." Modern Drama 68, no. 1 (2025): 75–96. https://doi.org/10.3138/md-68-1-1305.

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This article considers the dramaturgical methods of Mohan Rakesh (1925–72), a pioneer of reformist playwriting in post-independence India. Critics often consider Rakesh an experimentalist in Indian dramatic realism but fail to emphasize a key source of his experimentation: the friction of thought that open-ended and unresolved conflicts evoke in his readers and audiences. Against claims of Rakesh’s quietism toward social issues, we argue that his portrayal of what he calls the “surrounding reality” reflects contemporary social ills that push his audience toward self-reflection. This article fi

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Orel, Barbara. "Zupanova vizija razvojnih smernic v dramatiki in gledališču." Jezik in slovstvo 60, no. 1 (2024): 43–52. http://dx.doi.org/10.4312/jis.60.1.43-52.

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Vitomil Zupan’s Sholion (1973), a collection of theatre essays, reflects on the state of drama and theatre in the early 1970s and outlines the way he anticipates them developing. In his vision of future developmental trends, Zupan sees drama and theatre as the syntheses of several theatre genres: the theatre of the absurd, total theatre and so-called “realistic” theatre, as he himself terms it. Zupan uses this term to denote various approaches to performing that are the opposite to theatre of the absurd and entail elements of social criticism, grotesque, comedy, satire, real situations and pro

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Henderson, Leah. "‘If You Prick Us Do We Not Bleed?’: Marvel Comics’ Vision: Director’s Cut Re-Evaluating What It Means to Be Human." Law, Technology and Humans 2, no. 2 (2020): 133–49. http://dx.doi.org/10.5204/lthj.1640.

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Vision: Director’s Cut (2017) is a short comic series about Vision, a lonely robot Avenger superhero who builds his own robotic family out of his desire for love and happiness. The story focuses on the Vision family as they struggle to lead a ‘normal’ suburban life under Vision’s tutelage. As beings of artificial intelligence (AI), they are subject to social ostracism and abuse by a neighbourhood that refuses to accept them as part of the human community. In doing so, Director’s Cut enters into the long-standing literary debate about humanness versus monstrousness, what it means to be a human,

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Downing, Stephen. "The Social Construction of Entrepreneurship: Narrative and Dramatic Processes in the Coproduction of Organizations and Identities." Entrepreneurship Theory and Practice 29, no. 2 (2005): 185–204. http://dx.doi.org/10.1111/j.1540-6520.2005.00076.x.

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A social dimension to business development and inertia is currently acknowledged in several accounts of learning, business models, vision building, and innovation, and through more general concepts of networking, social capital, and embeddedness. Here a constructionist perspective is developed to improve our understanding of the interactions between entrepreneurs and stakeholders in all of these areas. This identifies narrative and dramatic processes that describe how notions of individual and collective identity and organization are coproduced over time. A framework is created to show how sel

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Mišić, Danijela. "The winter's tale by William Shakespeare in the context of English cultural and social past." Metodicka praksa 28, no. 1 (2025): 101–8. https://doi.org/10.5937/metpra28-56924.

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By reading Shakespeare's play The winter's tale in a new way the author of this paper has the goal to focus our attention on the actual events and the connection between the events from social reality and from personal, emotional, spiritual world of characters. The author' s aim is to show that the past brings energy to present time and for ideas of cosmic justice that must be satisfied in every moment by no means. By linguistic analyses, thinking about characters' actions, by revealing hidden meaning of the spoken words, by citing chosen extracts from the play we come to the conclusion that t

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Khagi, Sofya. "One Billion Years after the End of the World: Historical Deadlock, Contemporary Dystopia, and the Continuing Legacy of the Strugatskii Brothers." Slavic Review 72, no. 2 (2013): 267–86. http://dx.doi.org/10.5612/slavicreview.72.2.0267.

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The importance of Arkadii and Boris Strugatskii in Soviet science fiction has been thoroughly examined. A less-explored question concerns how they have continued to inspire post-Soviet authors who muse on an environment that differs drastically from the one that gave rise to their works. Sofya Khagi explores how prominent contemporary writers—Garros-Evdokimov (Aleksandr Garros and Aleksei Evdokimov), Dmitrii Bykov, and Viktor Pelevin—examine the Strugatskiis to dramatize their own darker visions of modernization, progress, and morality. They continue the tradition of science fiction as social

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Desen Jonathan, Mbachaga. "Dramatic Literature and the Fight against Terror, Insurgency and Insecurity in Nigeria: Yerima’s Vision in Heart of Stone." Advances in Language and Literary Studies 10, no. 5 (2019): 83. http://dx.doi.org/10.7575/aiac.alls.v.10n.5p.83.

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Issues of security of lives and property flood the news in Nigeria with focus on mayhem, bombings, brutality and mind boggling killings of persons. The fear has gone beyond that of armed robbery gangs to fear of kidnappers, political assassins and insurgent bombings which have become daily features of our news and social landscape. This paper takes a critical excursion into Ahmed Yerima’s Heart of Stone and explores his angst against insurgency and its causes in Nigeria highlighting religious intolerance and hate as well as poverty as strong reasons for this trend in Nigeria. The study uses co

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Rovisco, Maria. "The indignados social movement and the image of the occupied square: the making of a global icon." Visual Communication 16, no. 3 (2017): 337–59. http://dx.doi.org/10.1177/1470357217702088.

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This article is concerned with how the indignados social movement (also known as M15) used distinctive symbolic and visual communication strategies to articulate their collective self-representation as a movement of global citizens. Through social semiotic analysis and critical discourse analysis of textual and visual materials available in the blogs of the encampments of Lisbon, Barcelona and Madrid, the author illuminates how the indignados used the image of the occupied square as a model of dissent and democratic participation, which becomes available for global circulation. Drawing upon Ha

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Street, Anna. "Dramatic Measures: Comedy as Philosophical Paradigm." Anglia 136, no. 1 (2018): 75–99. http://dx.doi.org/10.1515/ang-2018-0010.

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AbstractTragedy’s overwhelming presence, presaged by the conspicuous absence of Aristotle’s treatise on comedy, has dominated the debate between philosophy and poetry ever since Plato, making tragedy the dominant paradigm for philosophical and performance practices. Over the last century, the gradual blurring of genre distinctions has led to George Steiner’s declaration of the ‘death of tragedy’ and to J. L. Styan’s recognition of the emergence of ‘dark comedy’, giving rise to a growing body of research on comedy. Nevertheless, despite the unprecedented attention, the prejudices against comedy

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Gaidash, Anna, and Svitlana Kadubovska. "Old age representations in Constanze Dennig’s dystopia “Exstasy Rave”." Studia Philologica 2, no. 15 (2020): 70–76. http://dx.doi.org/10.28925/2311-2425.2021.159.

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The paper tackles the representations of old age in Constanze Dennig's dystopia "Exstasy Rave". Modern theatrical tendencies and the role of drama as a mouthpiece of social ideas, in particular in matters of aging and old age, are related; ageist stereotypes in the text of Constanze Dennig are analyzed; problem-semantic aspects of corporeality are studied; the possibilities of author's remodeling of discriminatory stereotypes of old age are inferred. The challenges presented by the Austrian woman playwright in her drama allow us to attribute her work to the post-dramatic theater, which in Lehm

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Prus, Elena. "The Dramatic Model of the 19th Century French Novel." Arta 32, no. 2(AAV) (2023): 60–65. http://dx.doi.org/10.52603/arta.2023.32-2.09.

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The dramatic model is associated with the entire generation at the end of the 19th century, a time of “generalized staging” with a predisposition for the spectacular. The city is perceived as a scenic place. A true phantasmagorical space, the urban space dramatizes the inhabitants who are transformed, in turn, into actors. Paris, in the 19th century, was not only the place of famous world exhibitions, it became itself an object of exhibition, thus spreading its influence over people and things. All the French novelists of the 19th century experienced theatrical training, having launched certai

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NASER, ALYAA A., and MAJEED MOHAMMED MIDHIN. "Honour and Reputation as Gender Politics in Ali Abdel-Nabi Al Zaidi's Rubbish (1995) and Amir Al-Azraki's The Widow (2014)." Theatre Research International 49, no. 3 (2024): 299–316. https://doi.org/10.1017/s030788332400021x.

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The two related notions of honour and reputation are closely associated with the social status of individuals (male or female), particularly in a society governed by traditional, patriarchal moral values. However, writing about honour and reputation in Iraq (and in the Middle East in general) means talking about women's chastity and their sexual morality specifically. Eclipsing honour and societal reputation to women's bodies are deep-rooted patriarchal norms that stigmatize women's involvement in sexual relations (mainly outside marriage codes) and exclude men from this adultery framework. Th

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Tanjung, Sumekar. "Fantasy Theme on the Replication of Yang Terdalam on TikTok." International Journal of Media and Communication Research 4, no. 2 (2023): 49–66. http://dx.doi.org/10.25299/ijmcr.v4i2.13244.

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This study aims to explain the fantasy theme on the replication of the song Yang Terdalam. The background of this research is the high trend of the replication from December to January 2022 on TikTok. Users on TikTok have their own identity. Identity is an absolute requirement for a user to participate in social networking services. In addition, participation is an indicator of active users in digital culture or a culture where people can produce and consume, distribute and replicate memes in their own way. This shows that users as cultural prosumers do both production and consumption in repli

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Strelchuk, Victoriia, Mykola Boklan, and Artem Pozniak. "Metanarratives of the Irish Post-Dramatic Theatre in the Context of the Productions by G. Keegan and F. Cannon." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 4, no. 2 (2021): 153–62. https://doi.org/10.31866/2616-759X.4.2.2021.243243.

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The purpose of the article is to identify trends in the development of post-dramatic theatre in Ireland on the example of productions by leading directors G. Keegan and F. Cannon. Research methodology. The authors of the article applied a theoretical method (to generalise the material analysed in the study in order to highlight the main trends of post-dramatic theatre in Ireland); the method of system analysis (to consider post-dramatic theatre as a system, as well as structuring and analysing its techniques); the method of cognitive analysis (to identify the differences between

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Bentley, Eric, Robert Brustein, and Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion." New Theatre Quarterly 25, no. 4 (2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.

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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vis

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Čengić, Almedina. "ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS." Knowledge International Journal 28, no. 7 (2018): 2361–65. http://dx.doi.org/10.35120/kij28072361a.

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The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writ

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Bennis, Mohammed. "Demystifying the Absurd in Samuel Beckett's Fiction and Drama." International Journal of Language and Literary Studies 5, no. 2 (2023): 147–58. http://dx.doi.org/10.36892/ijlls.v5i2.1276.

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Understanding the philosophy of the Absurd has always solicited the attention of modern and post- modern critics, scholars and researchers. The Absurd remains one of the most inscrutable concepts that both philosophy and literature have produced ever. The Absurd as a vision of life came at a time when Western societies were experiencing a transitional juncture in terms of social, cultural, philosophical, political and technological changes. These societies were progressively shifting from traditional values of conservatism and uniformism that were essential characteristics of the first half of

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რატიანი, ირმა. "თანამედროვე ტრაგედია და მისი ქართული იმპლიკაციები". სჯანი 25 (18 жовтня 2024): 7–22. http://dx.doi.org/10.62119/sjn.25.2024.8102.

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The aesthetics of late realism and early modernism brought about great changes in the world literature, including the canon and dynamics of the genre of tragedy. Among the fundamental changes revealed in the tragedies of this period, the following deserve special mention: Transformation of the epicenter of the tragedy from “hero” to “victim”; Weaving the history of tragedy into everyday life; Activation of taboo topics; Transformation of tragic pathos. The pioneer of these changes is Henrik Ibsen (1828-1906), who is rightly considered the founder of Modern tragedy. Ibsen took the tragic stor

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Bugnone, Luca. "Le ali della Dea. Polissena e la Valle di Susa // Wings of the Goddess. Polyxena and the Susa Valley // Las alas de la diosa: Polissena y el Valle de Susa." Ecozon@: European Journal of Literature, Culture and Environment 9, no. 2 (2018): 122–41. http://dx.doi.org/10.37536/ecozona.2018.9.2.2319.

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Formata dal movimento dei ghiacciai quaternari, la Valle di Susa è una valle alpina nel Nord Ovest italiano. Luminoso esempio di “materia narrante”, è anche terreno di scontro tra iniziative conservazionistiche e progetti infrastrutturali transnazionali. Il progetto dell’alta velocità-capacità ferroviaria, o TAV, è stato oggetto di dure critiche. Dagli anni Novanta, grandi mobilitazioni riunite sotto il vessillo No TAV dalla valle si sono estese all’intero territorio nazionale. Parallelamente, il TAV gode l’appoggio bipartisan delle forze politiche. Diversi progetti preliminari sono stati stra

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C., Alex Rajakumar Paul, and K. Premkumar Dr. "SONGS AND MUSIC - AS EXPRESSIVE THERAPY IN SHAKESPEARE'S PLAY "THE WINTER'S TALE"." International Journal of Computational Research and Development 1, no. 1 (2017): 188–91. https://doi.org/10.5281/zenodo.230716.

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<em>The Winter’s Tale</em> is a great tragic comedy. It is a comedy hovering on the brinks of tragedy. It includes conflicts within friends, family and generations. It is a romantic play with unique dramatic structure. It is expressed in a brilliant two part structure. While commenting in the structure of the play, the Director Martin Maraden points out: To create the two different worlds of Sicilia and Bohemia and yet to have them seem necessary to each other is one of the challenges of <em>The Winter’s Tale</em>. I think the contrast in the play makes perfect sense, we begin in Sicilia, we s

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Vaidya, Yatharth N. "THE HAIRY APE: A SOCIAL VISION OF EUGENE O’NEILL THROUGH EXPRESSIONISTIC TECHNIC." Towards Excellence, September 30, 2022, 1459–66. http://dx.doi.org/10.37867/te1403133.

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Eugene O’Neill has a powerful social vision and his plays are rich in social criticism. As a social dramatist, O’Neill sees the society as a whole and gives exact ‘feel’ of it. He deals with characters, events and situations which constitute an integral part of it. O’Neill’s plays create in us a new social awareness. He visualizes society critically, without prejudice. He is rarely satisfied with the surface view of life, but moves inward to sound its depth. O’Neill’s social vision has a remarkable social range. His plays embody the ideas and conflict of the first half of the twentieth century

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ADÉSÈYE, Bífátifé Olúfémi, and Kazeem O. AZEEZ. "COUNTER TERRORISM IN THE NIGER DELTA AND THE DRAMATIST'S SOCIAL VISION: A CRITICAL READING OF AHMED YERIMA'S HARD GROUND." July 1, 2019. https://doi.org/10.5281/zenodo.5055661.

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Abstract Insurgency in the oil-rich Niger Delta region of Nigeria, which threatens the peace of the masses and the activities of multinational corporations, and endangers the nation"s economy is terrorism. The persistent situation, which cannot be wished away, is a challenge that calls for urgent redress. Ahmed Yerima"s social vision in Hard Ground (2006) is a commitment towards positive change in the issues of terrorism in the Niger Delta region. This study aims to undertake textual content analysis of Hard Ground to examine the dramatist"s prescription for counterterrorism in the Niger Delta

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Yesmin, Gultaz. "THE LANGUAGE CRISIS OF NINETEENTH CENTURY AND PERSPECTIVE OF LAKSHMINATH BEZBARUAH." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i6.2024.2100.

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Lakshminath Bezbaruah (1868-1938) is a memorable name in the field of Assamese language, literature and culture. He was a poet, story writer, novelist, dramatist, lyricist, essayist, biographer, autobiographer, writer of humour, and folk culture. Although, Lakshminath Bezbaruah had lightened all the segments of Assamese Literature by his excellency, but his contribution to the field of short story writing is significant. Bezbaruah started writing short stories when Short story writing was not flourished properly in it’s birthplace, the western nations itself. A new era was also started with hi

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Tomlinson, Sophie. "Sensuality, Spirit, and Society in The Dutch Courtesan and Lording Barry’s The Family of Love (1608)." Early Theatre 23, no. 1 (2020). http://dx.doi.org/10.12745/et.23.1.4164.

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This essay stages a dialogue between The Dutch Courtesan and the comparatively neglected The Family of Love by Lording Barry. It discusses the differing ways Marston and Barry deploy the Familist fellowship that had recently come under fire from England's reigning monarch. I juxtapose the dramatists' representation of sensuality and spirituality across a broad range of characters. By attending to their shared preoccupation with the humoral, excretory body, the essay proposes that these comedies leave us with divergent social visions.

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Vhutuza, Ephraim, and Noreen Mucheke. "Confronting Scenarios in Tsitsi Dangarembga’s She No Longer Weeps." Commonwealth Youth and Development 15, no. 2 (2018). http://dx.doi.org/10.25159/1727-7140/3302.

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The paper explores the role of the play titled She No Longer Weeps by Tsitsi Dangarembga in interrogating the prevailing status quo of, what the paper refers to as, the “scenarios.” In this paper, we focus on how the play facilitates and shapes social change in independent Zimbabwe in the 1980s. Whereas it is undeniable that social change occurs at various levels in society, we concentrate on the change that occurs in the domestic space of the family and/or home, and specifically in gender power relations, as this is the play’s main focus. The paper argues that She No Longer Weeps represents a

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Schadewaldt, Annika. "Going Slumming in Mexico: Rereading Primitivism in Katherine Anne Porter’s Flowering Judas and Other Stories." Beyond the Margins: A Journal of Graduate Literary Scholarship 1 (2020). http://dx.doi.org/10.46428/btm.1.4.

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Katherine Anne Porter’s short story collection Flowering Judas and Other Stories from 1935 features most of the author’s engagement with Mexico as a setting and its social realities after the revolution. While most scholars agree that Porter’s experiences during her stays in-Katherine Anne Porter’s short story collection Flowering Judas and Other Stories from 1935 features most of the author’s engagement with Mexico as a setting and its social realities after the revolution. While most scholars agree that Porter’s experiences during her stays in Mexico crucially shaped her artistic vision, the

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Bombarolo, Félix. "La reunión… dimes y diretes sobre “participación y concertación” en la definición de políticas públicas." Revista INVI 12, no. 32 (1997). http://dx.doi.org/10.5354/0718-8358.1997.62073.

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El presente artículo desarrolla una visión crítica sobre los conceptos de participación y concertación en los planes y programas habitacionales, interrogándose "cuáles" serán los puntos de vista de los diferentes agentes que intervienen. Escudriña los "porqué, para qué y cómo", entiende cada uno de los agentes, la utilización de tales principios, cuestionando la seguridad que en su aplicación esté implícito la inclusión de proyectos progresistas, democráticos y promotores del cambio social con equidad. Afirma que las políticas sociales se han cubierto de un "barniz discursivo" que no muchas ve

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Patteti, Raja Sekhar, and Songa Srinivasa Rao. "URVASHI O JOHNNY: A POIGNANT LAMENT FOR THE MARGINALIZED AND A CALL FOR CHANGE IN MAHASWETA DEVI'S DRAMATIC VISION." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (2023). https://doi.org/10.29121/shodhkosh.v4.i1.2023.3007.

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Mahasweta Devi’s Urvashi O Johnny (1976) is a powerful exploration of romantic idealism, social ethics, and existential despair against the backdrop of urban poverty in Calcutta. The play follows Johnny, a ventriloquist whose passion for Urvashi symbolizes his quest for personal and collective freedom in a world crippled by systemic oppression. Johnny’s relentless pursuit of happiness, his guilt over abandoning One-Eyed Moti, and his ultimate sacrifice mirror the struggles of the marginalized in a society defined by greed and moral decay. Employing poetic language, folk songs, and raw dialects

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Harley, Alexis. "Resurveying Eden." M/C Journal 8, no. 4 (2005). http://dx.doi.org/10.5204/mcj.2382.

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   The Garden of Eden is the original surveillance state. God creates the heavens and the earth, turns on the lights, inspects everything that he has made and, behold, finds it very good. But then the creation attempts to acquire the surveillant properties of the creator. In Genesis 3, a serpent explains to Eve the virtues of forbidden fruit: “Ye shall not die: For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil” (Genesis 3: 4–5). Adam’s and Eve’s eyes are certainly opened (sufficiently so to necessi

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Mabrook, Murad. "Editorial in English." Ansaq journal 7, no. 1 (2023). http://dx.doi.org/10.29117/ansaq.2023.0171.

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Modern and contemporary Qatari literature constitutes an essential axis in Arabic literature, especially Gulf literature, since the first half of the twentieth century until now (2023) in many areas, including; Poetry, short stories, novels, theater and public literature. Eloquent poetry was the first of the most common literary genres in Qatari literature, followed by p public poetry, short stories, novels and theater. No one doubts that Qatari literature has developed on the quantitative and qualitative levels in the last three decades. Therefore, the editorial board of the magazine decided

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Turnock, Julie. "Painting Out Pop." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1764.

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Film directors in American cinema have used the artist (painter, singer, thespian, writer, etc.) as a vehicle for auteurist identification in feature bio-pics for decades. The portrayal of the protagonists in these films usually falls victim to the "Van Gogh" syndrome, that is, the insistance on the creative inner turmoil, the solitary, misunderstood genius, and brave rebellion of its central character. This approach, however, breaks down completely when confronted with the void that is the historical figure known as "Andy Warhol." The popular image of Warhol, his studied superficiality, unapo

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Laba, Martin. "Culture as Action." M/C Journal 3, no. 2 (2000). http://dx.doi.org/10.5204/mcj.1837.

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Culture is a mercurial concept -- volatile, contested, and somehow, less than the sum of its parts. Its anthropology, it can be argued, was rooted in an exoticising scholarship typical of the late 19th-century colonialist ruminations on all things "other"; in contemporary terms of course, this exoticising tendency would be termed, as it should, "Orientalist". Still, there is something more than merely residual in the persistence of a notion of culture as a summary, as a package of knowledge and practice, as a name for identity, or even politics, all of which draw clearly from the well of Edwar

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Kay, Louise, Silke Brandsen, Carmen Jacques, Francesca Stocco, and Lorenzo Giuseppe Zaffaroni. "Children’s Digital and Non-Digital Play Practices with Cozmo, the Toy Robot." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2943.

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Introduction This article reports on the emerging findings from a study undertaken as part of an international research collaboration (Australia, Belgium, Italy, UK; DP180103922) exploring the benefits and risks of the Internet of Toys (IoToys). IoToys builds upon technological innovations such as smartphone apps that remotely control home-based objects, and wearable technologies that measure sleep patterns and exercise regimes (Holloway and Green). Mascheroni and Holloway summarise the features of IoToys as entities that users can program, with human-toy interactivity, and which have network

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Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl

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Dieter, Michael. "Amazon Noir." M/C Journal 10, no. 5 (2007). http://dx.doi.org/10.5204/mcj.2709.

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   There is no diagram that does not also include, besides the points it connects up, certain relatively free or unbounded points, points of creativity, change and resistance, and it is perhaps with these that we ought to begin in order to understand the whole picture. (Deleuze, “Foucault” 37) Monty Cantsin: Why do we use a pervert software robot to exploit our collective consensual mind? Letitia: Because we want the thief to be a digital entity. Monty Cantsin: But isn’t this really blasphemic? Letitia: Yes, but god – in our case a meta-cocktail of authorship and copyright –

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Nichols, L. Dugan. "Generational Detectives." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3136.

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Introduction This article examines American Conspiracy: The Octopus Murders (2024), a four-part documentary released on Netflix. Directed by Zachary Treitz, the documentary follows young photojournalist Christian Hansen as he tries to solve the mysterious death of Danny Casolaro. In 1991, Casolaro was found deceased in a hotel room while tracking officials in the CIA and former Reagan White House. He had planned to write an explosive book about what he termed “The Octopus”, an octuplet of overlapping conspiracies that transpired in the 1980s. At the time, local officials ruled Casolaro’s death

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Collins-Gearing, Brooke. "Reclaiming the Wasteland: Samson and Delilah and the Historical Perception and Construction of Indigenous Knowledges in Australian Cinema." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.252.

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It was always based on a teenage love story between the two kids. One is a sniffer and one is not. It was designed for Central Australia because we do write these kids off there. Not only in town, where the headlines for the newspapers every second day is about ‘the problem,’ ‘the teenager problem of kids wandering the streets’ and ‘why don’t we send them back to their communities’ and that sort of stuff. Then there’s the other side of it. Elders in Aboriginal communities have been taught that kids who sniff get brain damage, so as soon as they see a kid sniffing they think ‘well they’re rubbi

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Starrs, D. Bruno. "Enabling the Auteurial Voice in Dance Me to My Song." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.49.

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Despite numerous critics describing him as an auteur (i.e. a film-maker who ‘does’ everything and fulfils every production role [Bordwell and Thompson 37] and/or with a signature “world-view” detectable in his/her work [Caughie 10]), Rolf de Heer appears to have declined primary authorship of Dance Me to My Song (1997), his seventh in an oeuvre of twelve feature films. Indeed, the opening credits do not mention his name at all: it is only with the closing credits that the audience learns de Heer has directed the film. Rather, as the film commences, the viewer is informed by the titles that it

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Blackwood, Gemma. "X-Rated Indie Film and A24." M/C Journal 27, no. 4 (2024). http://dx.doi.org/10.5204/mcj.3076.

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This article investigates the ways that Ti West’s X horror film series uses the premise of pre-Internet American porno filmmaking as a grimy yet cool marker of American independent cinematic authenticity. The trilogy – composed of X (2022), Pearl (2022), and MaXXXine (2024) – uses the slasher horror genre to examine the porn industry and the history of twentieth-century cinema, with a particular focus on the so-called “golden age” (1969–1984) of 35mm feature film American pornography (Paasonen and Saarenmaa). Arguably, in these films the slasher horror genre reflects conventions previously ass

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Nolan, Huw, and Jo Coghlan. "Mutating a Better Man." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3170.

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Introduction Michael Gracey's Better Man (2024) presents an innovative biographical representation of British pop star Robbie Williams through a radical visual strategy—depicting its subject as a CGI primate rather than through a human actor. Filmed in Australia and partially funded by the Australian Government, the film follows a relatively standard biopic narrative tracing Williams’s trajectory from his Stoke-on-Trent childhood through his tumultuous Take That tenure to solo stardom, mapping his struggles with addiction, familial relationships, and mental health crises. What distinguishes Be

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