Journal articles: 'Dramatization'

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Koliqi, Kushtrim. "Kadare and the Theater." European Journal of Interdisciplinary Studies 4, no. 3 (November 29, 2018): 79. http://dx.doi.org/10.26417/ejis.v4i3.p79-83.

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The transformation of a literary work into other artistic and cultural dimensions is always intriguing and challenging. This transformation is frequent in cases when a certain literary work is brought to the theater through dramatization and staging. A constant debate among theater, film and literature artists is that of dramatization and staging of a literary work in the form of a theatrical performance or some other artistic medium. The arguments and counterarguments are numerous and are usually based on personal experiences or on the outcome and quality of a play or film emerging from the dramatization of a literary work. Perhaps due to the low output of theatrical productions in Kosovo or lack of creative ideas, the dramatizations of literary works into a theater plays are rare in Kosovo’s stages. In spite of cases being sporadic, some attempts at theatrical productions deriving from dramatization of literary works do exist and the most serious among them are those based on the literary works of authors such as Ismail Kadare, though not always possessing the qualities that characterize the original works. By approaching Ismail Kadare’s work from a different angle, that of its dramatization and staging for theater, I aim to contribute to the recognition of the Albanian literature in another dimension, namely that of playwriting and theater. This will be achieved by illuminating the principal and fundamental issues of the relationship between the literary work and the theater, focusing on the particular potential Kadare’s work has for staging.

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Halpin, Patricia A., and Chaya Gopalan. "Using dramatizations to teach cell signaling enhances learning and improves students’ confidence in the concept." Advances in Physiology Education 45, no. 1 (March 1, 2021): 89–94. http://dx.doi.org/10.1152/advan.00177.2020.

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Certain physiology concepts can be difficult for students to understand, and new strategies need to be implemented to teach these concepts. Cell signaling is a core concept in physiology and is presented to undergraduate students starting with their first-year Principles of Biology course. Flipped teaching (FT) combined with dramatizations were used to teach steroid hormone and protein hormone cell signaling in an Animal Physiology course. Student knowledge level improved, as demonstrated by posttest scores compared to pretest scores. Their confidence level in the material improved after the dramatization activities were completed. In conclusion, the combination of FT with dramatizations enhances student learning and confidence level.

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Shusterman, Richard. "Art as Dramatization." Journal of Aesthetics and Art Criticism 59, no. 4 (November 2001): 361–72. http://dx.doi.org/10.1111/0021-8529.00038.

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Karasik, Vladimir I. "Dramatization in Proverbs." Procedia - Social and Behavioral Sciences 200 (August 2015): 26–32. http://dx.doi.org/10.1016/j.sbspro.2015.08.005.

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Halpin, Patricia A., and Chaya Gopalan. "Teaching Membrane Transport Concepts Using Flipped Teaching & Dramatizations." American Biology Teacher 83, no. 5 (May 1, 2021): 337–40. http://dx.doi.org/10.1525/abt.2021.83.5.337.

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Cell membrane transport is an important topic discussed in the biology classroom from the middle school to the graduate level. Membrane transport is complex, and students are often confused between different types of transport mechanisms. Dramatization is an active-learning strategy to engage students in learning. The flipped teaching method is designed to introduce lecture content prior to class meeting, thus creating time during class to adapt active-learning strategies such as dramatization. In this work, students were given a pretest prior to the dramatization activity. As each type of membrane transport was discussed, which included simple diffusion, osmosis, facilitated diffusion, and active transport, students were assigned specific roles to demonstrate the movement. The dramatization activity triggered many questions related to the topic, and these questions were addressed immediately. A posttest was conducted at the end of the dramatization activity. Our results demonstrated increases in the students’ understanding, engagement, and confidence level. The combination of flipped teaching and dramatization thus serves as a student-centered active-learning strategy for teaching difficult biological concepts.

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Sholtz, Janae. "Dramatization as Life Practice: Counteractualisation, Event and Death." Deleuze Studies 10, no. 1 (February 2016): 50–69. http://dx.doi.org/10.3366/dls.2016.0211.

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The concept of dramatization represents a rhetorical and conceptual tension in Deleuze's philosophy in that it refers both to autopoietic ontological processes and to a critical philosophical method. Commentators are wont to refer to either one or the other, saying little about how or if these two fundamentally distinct usages can be thought together; that is what we aim to do here. By unravelling the conceptual transformations of the term, we can gain an appreciation for the double characterisation of dramatization and its centrifugal nature. We begin with the hypothesis that dramatization is linked to actualisation in the first sense and counteractualisation in the second. The fundamental question that we would like to address is: how are these two views to be reconciled? Addressing this question leads us to the conclusion that dramatization becomes an ethical imperative for philosophical subjects to perform certain philosophical exercises, that is, to become worthy of the event. The particular philosophical exercise that is emphasised is the dramatization of a paradoxical thought of death. Ultimately, we suggest that dramatization can be galvanised for both an emancipatory politics and an ethico-aesthetic life practice.

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Galan, F. W., Pavel Kohout, Joel Gersmann, Leslie Auerbach, and E. J. Czerwinski. "The Hangwoman: A Dramatization." World Literature Today 64, no. 4 (1990): 664. http://dx.doi.org/10.2307/40147010.

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Kim, Jina E. "Between Documentation and Dramatization." positions: asia critique 27, no. 2 (May 1, 2019): 397–420. http://dx.doi.org/10.1215/10679847-7334475.

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Behak, Fariza Puteh, and Tahani R. K. Bsharat. "The English Language Education under Israeli Occupation through Dramatization Method for the EFL Students in Palestine: A Case Study." International Journal of Early Childhood Special Education 13, no. 2 (December 2, 2021): 732–41. http://dx.doi.org/10.9756/int-jecse/v13i2.211114.

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Palestinian students in the occupied regions of Palestine are facing exceptional circumstances besides difficulties, unlike other neighboring countries in the world. These are due to the continuing occupation by Israel. This study, intended to find out English Language Education under Israeli Occupation through dramatization Method for the EFL students in Palestine. This study used a full qualitative method, the participants were eight students who had used drama as a technique in learning English language class. The researcher got the data from interviewing the students. The result of this study showed that the English Language Education under Israeli Occupation through dramatization method for the EFL students in Palestine dramatization method is effective in Learning English for Palestinian students. The results of interviews with eight students indicate that they have a positive perception of the dramatization method in learning English language class. Thus, the technique of dramatization examines their thoughts, memories, and responses, offering greater insights into this complex and disturbing situation due to conflict and occupation.

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Nassonov, Mikhail S. "THE CONCEPT OF DRAMATIZATION AND ITS MEANINGS." Вестник Пермского университета. Философия. Психология. Социология, no. 2 (2019): 169–79. http://dx.doi.org/10.17072/2078-7898/2019-2-169-179.

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Dramatization is a living, state-synthesizing, active internal activity peculiar to the subject; it is difficult to fit into a strict definition; thus, because of all the above, it appears to be a concept. Based on the peculiar methodology of Georges Bataille, with its goal to express the experience of the impossible, the categorical apparatus of M. Heidegger’s existential phenomenology, hermeneutics, historical and philosophical analysis and the use of the given concept, an attempt was made to penetrate the depths of the creative act and personality characteristics of the author. The latter (poet, philosopher) is engaged in mythopoiesis, he does not just create a special language and lives in it but conveys something through it, this being his destiny, his drama. In this regard, we should speak about the expression of Being, where dramatization plays a significant role. Dramatization is the process that helps to «go beyond oneself» to the unknown and transcendental. There are other meanings as well. For example, from an existential point of view, a person who dramatizes his existence becomes closer to understanding language, phenomena and the meaning of his life. Dramatization helps bridge the gap between things and words. The key figures of our research are Plato and G. Bataille, in whose philosophizing two types of dramatization are most clearly traced. The first type is rational, where drama unfolding in life and in one’s own philosophy is presented; the second one is irrational, associated with inner experience, mystical ecstasies, dramatization to exhaustion. At the same time, Plato and Bataille have common features: moments of experiencing death, incompleteness, and overcoming limits. This text may be of particular interest to those who deal with the philosophical problems of the creative process (further development of dramatization in relation to other similar concepts would help understand it at a higher qualitative level), a comparative analysis of antiquity and postmodernism.

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Yurtay, Yuksel, Nilüfer Yurtay, Arda Yuksel, and Ayca Armay. "Sample application on dramatization in education." New Trends and Issues Proceedings on Humanities and Social Sciences 3, no. 7 (July 23, 2017): 08–13. http://dx.doi.org/10.18844/prosoc.v3i7.1978.

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Developments on the technology have a big effect to change our lifestyle and education methods. It is obvious that effects of games based computer technology is increased on peopleâ€™s life. Dramatization in Education is the one of the latest studies that is used education materials and dramatization methodologies. The idea of converting the education materials to game, is invented with changing human profiles and their interestsIn these study, it is intended that teaching the Gini Algorithm that is used with dramatization tools which is the one of the most significant usage area in data mining. The dramatization of theorical steps of Gini Algortihm is executed and it is developed with practiced on a group of student. It is measured the effects on students of classical education and dramatization on education with this application.After the measurement, results are discussed, evuluated and shared. The application is designed for mobile devices and it is coded to be used with Android Operating System. Besides, this applicaton is developed computer engineer students based. Instead of to memorize the theroical informations and formulas, the application focused on how people understand the logic.This information becomes permanent information in young minds. Application consists two stages. First one is the preparing of dataset and second stage is the operating the algorithm with the help of prepared datasets and formulas. In the last part of the application, whole main nodes provide to users as decision tree table. Keywords: Education, dramatization, data mining, gini algorithm.

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Laganovska, Evija. "Prozas dramatizējumu iestudējumi 21. gadsimta Latvijas profesionālajos teātros. Rūdolfa Blaumaņa piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 49–59. http://dx.doi.org/10.37384/aplkp.2023.28.049.

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The article provides an insight in on the dramatizations of prose works in the professional theatres of Latvia from 1911 until nowadays. Up until now, there was no systematic research being done on dramatizations as a separate theatrical process. The article also provides an in-depth overview of ten 21st-century dramatizations of Rūdolfs Blaumanis’s (1863–1908) works. Blaumanis is the most staged Latvian writer in the professional theatres of Latvia. It was unsheathed during the research that the frequency of the dramatizations of his works in the 21st century grows. The dramatizations of his works in the professional theatres of Latvia in the period 2000–2020 could be split in to three parts. One part – 22 classic productions of his plays during the aforementioned period; another part – 10 dramatizations of his prose writings, and yet another part – 6 staging works based on the motives of his writings. The tendency of producing a stage version of the prose work of an author might become an educational platform bringing longevity to the writers’ work or even their renaissance. It might raise the general awareness and interest of the public about a specific prose genre. The prose writings of Blaumanis are well suited for dramatization because all author’s short story masterpieces sustain distinct inner dramaturgical rhythm and elements otherwise peculiar to dramaturgy.

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Damaianti, Vismaia Sabariah. "DRAMATIZATION STRATEGY AND JUNIOR HIGH SCHOOL STUDENTS’ READING MOTIVATION." RETORIKA: Jurnal Bahasa, Sastra, dan Pengajarannya 14, no. 1 (April 4, 2021): 49. http://dx.doi.org/10.26858/retorika.v14i1.18877.

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This study is motivated by many expert opinions which state that the students' reading motivation in Indonesia still needs to be increased. The researcher tries to answer the problem by trying out a Dramatization Strategy in reading learning with the aim of increasing reading motivation. This strategy is carried out by developing students' cognitive and metacognitive abilities. The experimental method with a factorial design is chosen to determine the effectiveness of the Dramatization Strategy, either for readers with high- or low-level reading comprehension. The data sources of this study are 101 students of Madrasah Tsanawiyah in Bandung Regency and Bandung City. The results of the study show that the Dramatization Strategy is effective in increasing reading motivation, especially for improving reading skills and for social interaction. The implication of the study is the need for the application of the dramatization strategy by adjusting the teachers’ insights and abilities in identifying students' reading motivation.

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Yurtay, Yuksel. "Sample application on dramatization in education." New Trends and Issues Proceedings on Humanities and Social Sciences 03, no. 07 (July 23, 2017): 08–13. http://dx.doi.org/10.18844/prosoc.v2i7.1978.

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Pontuso, James F. "The Dramatization of Plato's Forms." News for Teachers of Political Science 52 (1987): 10–11. http://dx.doi.org/10.1017/s0197901900000258.

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Hotsaliuk, Alla, and Serhii Vytkalov. "Museum communication in practice of cultural institutions." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 11, no. 22 (2021): 23–33. http://dx.doi.org/10.34079/2226-2830-2021-11-22-23-33.

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The relevance of the topic is due to the increased attention to the issues of dramatization in the practice of modern cultural institutions, including museums, as the latter contributes to a better perception of information, makes the visitor a participant in a particular museum event. All this helps to increase the attendance at a particular cultural institution. The article is aimed to identify new forms of activity of museum institutions in modern cultural practice. Taking into account changes in the value orientations of young people, the importance of using the method of dramatization as an innovative form of activity of museum institutions is emphasized. The process of the development of museum space dramatization and reasons for introduction of this method in modern museums activity is characterized. Museum dramatization is considered as one of the most effective and efficient means of communication of a particular cultural institution with visitors. It is emphasized that there is a certain complexity of such activities related to the production of costumes, preparation of a high-quality script, etc. The practices of using theatrical methods in practical activities of the Museum of Historical Treasures of Ukraine (Kyiv) and Rivne Regional Museum of Local Lore of the Regional Council are considered. The following scientific research methods were used in this article: content analysis, the interview, polls for identifying the effectiveness of the method of dramatization and its prospects in cultural practice. The practical significance of the research implies in the use of the obtained results in the practical activities of cultural institutions, especially museums. Dramatization makes any event of a cultural institution more spectacular and therefore better perceived by visitors.

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Scherpe, Klaus R., and Brent O. Peterson. "Dramatization and De-Dramatization of "The End": The Apocalyptic Consciousness of Modernity and Post-Modernity." Cultural Critique, no. 5 (1986): 95. http://dx.doi.org/10.2307/1354358.

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Akue Adotevi, Mawusse Kpakpo. "Dramatización y argumentación en sociedades orales africanas." Revista de Humanidades de Valparaíso, no. 16 (January 21, 2021): 277. http://dx.doi.org/10.22370/rhv2020iss16pp277-290.

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African traditional societies are oral societies. Orality, in these societies, is the effect as much as the cause of the particular mode of social being of the African man (Aguessy 1979). An African man is socially configured by orality. It is therefore a cultural formatting whose main issue is preservation and transmission, from age to age, of traditions, social norms and practices that determine the relationship of man of orality with the world. Moreover, according to Diagne (2005), the process by which this cultural formatting, specific to traditional African societies is carried out, is the “dramatization”. Dramatization is the ruse of oral reason (Diagne 2005). The aim of this paper is to grasp, through the process of dramatization, cultural particularities of argumentation in traditional African societies. In order to do so, the analysis focuses on the discursive practices through which dramatization is revealed. More precisely, the study of proverbs in eʋe society allows pointing out the specificities of dramatized argumentation in an oral society. The epistemological issue animating this paper is to present a different way of grasping argumentative functions of image and metaphor.

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Abdullah, Ayesha. "The Birth of Thought: Dramatization, Pluralisation and the Idea." Deleuze Studies 10, no. 1 (February 2016): 19–32. http://dx.doi.org/10.3366/dls.2016.0209.

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One cannot deny that, even when not explicit, ethical themes run throughout Deleuze's works. Indeed, the method of dramatization directly relates to the production of ethical forms of being. As a method of investigation – critique, if one will – dramatization offers a consistent but dynamic method for interpreting and creating concepts. At the heart of such a method is the attempt to seek the anti-anthropological, anti-hegemonic and anti-representational forces described by Friedrich Nietzsche. It is at the level of this pre-individual multiplicity of forces that an axiology can be grounded. At this level, the singularity of a given object, domain or field of knowledge reveals itself. Most importantly, however, the method of dramatization resists the unethical relationship to being enacted throughout history by means of the logic of representation.

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Boga, Jose Enrique Yataco. "Educational Dramatization: A Fundamental Piece in Literature." Revista Gestão Inovação e Tecnologias 11, no. 3 (June 30, 2021): 661–78. http://dx.doi.org/10.47059/revistageintec.v11i3.1966.

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Alnassir, Mohammed A. "The Effect of Teaching Arabic Grammar by Using Curriculum Dramatization Approach on Achievement and Oral and Written Composition Skills for Students of the Primary Sixth Grade." Journal of Educational and Psychological Studies [JEPS] 8, no. 1 (January 1, 2014): 150–70. http://dx.doi.org/10.53543/jeps.vol8iss1pp150-170.

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The purpose of this study was to investigate the effect of teaching Arabic grammar by using the curriculum dramatization approach on the scholastic achievement and oral and written composition skills for the sixth grade elementary students in Qatif city in the Kingdom of Saudi Arabia. The sample of the study consisted of 62 students distributed in two equal groups: one is experimental which studied three units of grammar subjects and oral and written composition skills by using the curriculum dramatization approach while the other is the control gropu which studied the same units of grammar through the inqductive method and oral and written composition skills through the model method. The data of the study was collected by using three instruments designed especially for the purposes of the study: an achievement test of grammar and written composition and an oral composition scale. Data analysis revealed the following results: There were statistically significant differences at 0.00 between the means of the total marks of the students in the achievement test of grammar and written composition, andoral composition scales, which is attributed to the effect of using the curriculum dramatization approach. These differences were in favor of the experimental group. The study concluded by recommending the need for training Arabic teachersin using the curriculum dramatization approach.

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Alnassir, Mohammed A. "The Effect of Teaching Arabic Grammar by Using Curriculum Dramatization Approach on Achievement and Oral and Written Composition Skills for Students of the Primary Sixth Grade." Journal of Educational and Psychological Studies [JEPS] 8, no. 1 (January 1, 2014): 150. http://dx.doi.org/10.24200/jeps.vol8iss1pp150-170.

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The purpose of this study was to investigate the effect of teaching Arabic grammar by using the curriculum dramatization approach on the scholastic achievement and oral and written composition skills for the sixth grade elementary students in Qatif city in the Kingdom of Saudi Arabia. The sample of the study consisted of 62 students distributed in two equal groups: one is experimental which studied three units of grammar subjects and oral and written composition skills by using the curriculum dramatization approach while the other is the control gropu which studied the same units of grammar through the inqductive method and oral and written composition skills through the model method. The data of the study was collected by using three instruments designed especially for the purposes of the study: an achievement test of grammar and written composition and an oral composition scale. Data analysis revealed the following results: There were statistically significant differences at 0.00 between the means of the total marks of the students in the achievement test of grammar and written composition, andoral composition scales, which is attributed to the effect of using the curriculum dramatization approach. These differences were in favor of the experimental group. The study concluded by recommending the need for training Arabic teachersin using the curriculum dramatization approach.

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Mackenzie, Iain, and Robert Porter. "Dramatization as method in political theory." Contemporary Political Theory 10, no. 4 (July 19, 2011): 482–501. http://dx.doi.org/10.1057/cpt.2010.38.

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Sarquis, A. M. "Dramatization of polymeric bonding using slime." Journal of Chemical Education 63, no. 1 (January 1986): 60. http://dx.doi.org/10.1021/ed063p60.

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Barbosa, Simone D. J., Edirlei Soares de Lima, Antonio L. Furtado, and Bruno Feijó. "Generation and Dramatization of Detective Stories." Journal on Interactive Systems 5, no. 2 (November 6, 2014): 1. http://dx.doi.org/10.5753/jis.2014.648.

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We introduce in the present paper an operationally defined subclass within the genre of detective stories, specified on the basis of the logic programming model adopted in our Logtell project. Special attention is given to the treatment of communicative events. An SWI-Prolog plan-based tool was developed to compose consistent plots, conforming to the conventions of the genre. Seven criminal cases generated by the tool are described as illustration. It is shown, using the PlotBoard interface, how to run plan-based composition in interactive stepwise mode. We have also developed a storytelling system capable of representing the stories in the format of interactive comic books on tablet computers.

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Nazarova, Natalia V., and Viktoria G. Grigorieva. "The use of dramatization technology for the development of students' value orientations." Vestnik of Samara State Technical University Psychological and Pedagogical Sciences 20, no. 3 (October 23, 2023): 87–98. http://dx.doi.org/10.17673/vsgtu-pps.2023.3.7.

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The paper is devoted to the application of dramatization technology in foreign language teaching in order to develop general cultural, spiritual and moral value orientations among students. The purpose of this study was to prove the effectiveness of the use of dramatization technology as a means of developing students' value orientations in the process of learning a foreign language. To study the methods of this pedagogical technology, a review and analysis of psychological, pedagogical and methodological literature was conducted followed by a brief survey among foreign language teachers and students of the Theater Faculty of the Samara Institute of Culture. The results of the survey were used to clarify the most significant cultural values among the interviewees, as well as to determine the interest of the Theater Faculty students in the use of dramatization techniques during the study of a foreign language. To confirm the hypothesis and further practical implementation of the conclusions, a theatrical project "Gallop across Europe. From Aeschylus to Brecht", which involved the 2 year students of the Theater Faculty, was staged. The material for the dramatic production was excerpts from five works of classical foreign literature, which most fully reflected the purpose of the study. It was concluded that the didactic potential of dramatization technology is not limited exclusively to the development of language skills, but can be effectively used for formation of students' value orientations.

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Abu-Taweeleh, Saleh Mohammad, and Mustafa Odeh Jwaifell. "ATSAR ISTIKHDÂM AL-DRAMÂ WAFQ MANAHI MASRAHAH AL-MANÂHIJ FÎ TANMIYAH AL-FAHM AL-QIRÂÎ FÎ AL-LUGHAH AL-'ARABIYAH LADA THÂLIBÂT AL-SHAF AL-SÂBI' AL-ASÂSÎ FÎ MAAN." Arabiyat : Jurnal Pendidikan Bahasa Arab dan Kebahasaaraban 6, no. 1 (June 12, 2019): 185–204. http://dx.doi.org/10.15408/a.v6i1.9139.

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This study aimed at measuring the impact of using curricula dramatization on Arabic language Understanding among seventh graders students in Ma'an. The study sample consisted of (43) female students distributed randomly onto two groups: (20) control group and (23) experimental group. The control group taught traditionally while the experimental groups taught by dramatization the curriculum. Achievement exam where used to measure Arabic language reading understanding. Result of ANCOVA showed significant statistics at a≤0.05 for the benefit of experimental group. The study recommended encouraging teachers to use drama approach in teaching and learning Arabic language.

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REDES, ADELA, DANA EUGENIA DUGHI, EDITHA MARGARETA COSARBA, and HENRIETTA TORKOS. "THE ROLE OF DRAMATIC PADAGOGY IN DEVELOPING TRANSVERSAL COMPETENCE ON STUDENTS." Journal Plus Education 35, no. 1 (March 26, 2024): 237–46. http://dx.doi.org/10.24250/jpe//2024/ar/ded/emc/ht/.

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The old didactic theatre must be replaced by, let us say, pedagogical.” (Augusto Boal). Lifelong learning education can be ensured also with the dramatic pedagogy learning curricula due to the specific of student’s competences that can be improved and valued in formal and nonformal learning on promoting skills, attitudes a key-competences, social and positive values. The key-competences frame has a transversality characteristic but the most important is to identify the life key-competences you need to ensure, along with the selected methods used to achieve them. In this study we propose dramatic pedagogy methods to develop the acquisition of knowledges and skills of students and also to highlight their benefits thru drama teaching. The impact dramatization curricula in formal learning context encourages all students to participate to activities using their creativity or to express their personalities in solving problems, to express their imagination and most off all to be authentic. All teachers can use on their learning context planning such as dramatization, as a significant element of their teaching according with the used drama methods. Dramatization as an art form involves cohesion and mutual cooperation between students and teachers. It encourages students to think positively about themselves, to learn and believe in their own growing abilities. Dramatization as an educational method, through integrated approaches of learning contributes permanently to adapt and to design curriculum for students need of learning and to increases the perspective of expansion knowledges outside the curriculum, to free movement and to research on the worldwide science.

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Mellamphy, Dan, and Nandita Biswas Mellamphy. "“The Play’s the Thing”: Mathematization as Dramatization." Paideusis 17, no. 1 (October 21, 2020): 35–44. http://dx.doi.org/10.7202/1072466ar.

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Mobilizing prevalent themes in the fields of mathematics education, literary criticism, and philosophy, this paper contextualizes ‘the mathematical’, ‘mathematical thinking’, and ‘mathematical pedagogy’ with respect to ancient Greek concept of mathesis, modern notions of mathematical agency, the Keatsian concept of negative capability, and the analogy of ‘staging’ a dramatic/mathematical ‘play’. Its central claim is that mathematization is dramatization—that learning mathematics (indeed, learning to learn, which is what the Greek mathesis actually means) is an activity of setting things up and (in this ‘set’ or ‘setting’) allowing things to play out (e-ducere). Beginning with Paul Ernest’s identification of the difference between absolutism and fallibilism in the philosophy of math education, and incorporating concepts from Pythagoras, Hippasus, Heraclitus (the ‘ancients’), Descartes, Kant, Keats (the ‘moderns’), as well as Freud, Heidegger, and Badiou (‘nos prochains’, to quote Klossowski ), we argue that ‘mathematical knowledge’ cannot be understood simply within the framework of logicism, formalism, or even simply as an epistemological articulation. Rather, we endeavour to show that the process of ‘learning mathematically’ allows us to gain insight into the foundations of ‘being’ itself (i.e. ontology). Learning to learn (mathesis) proceeds, as such, by way of staging and playing-out the half-known or unknown (the ill-seen and ill-said) in the hopes of uncovering the mystery (Greek myesis) at the heart of things.

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Hak-Su Byun. "Biblio/Poetry Therapy and Dramatization of Texts." Korean Journal of Psychodrama 11, no. 1 (June 2008): 43–57. http://dx.doi.org/10.17962/kjp.2008.11.1.003.

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Rofé, Alexander. "Ruth 4:11 LXX–A Midrashic Dramatization." Textus 20, no. 1 (August 19, 2000): 129–40. http://dx.doi.org/10.1163/2589255x-02001011.

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Hedrick, Charles. "Vestigial Scenes in John: Settings without Dramatization." Novum Testamentum 47, no. 4 (2005): 354–66. http://dx.doi.org/10.1163/156853605774482126.

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AbstractJohn 2:12 comprises little more than a scene setting and plays no evident role in John's overall narrative. Thus it is surprising to find it in a text whose "author" knows that space is limited (John 21:25) and so narrates things serving a soteriological purpose (John 20:30-31). This paper compares John 2:12 to other similar brief independent "scenes" in the gospel, and identifies their literary character as "vestigial scenes": these are scene settings, which for some reason are not dramatized. The paper concludes by exploring reasonable options for explaining their presence in the text.

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Barker, Joseph. "Love, Language and the Dramatization of Ethical Worlds in Deleuze." Deleuze Studies 10, no. 1 (February 2016): 100–116. http://dx.doi.org/10.3366/dls.2016.0214.

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Dramatization has been conceived by some Deleuze scholars as ‘dramatizing’ the mode of existence of a subject. This paper argues, on the contrary, dramatization involves the very creation of a viewpoint on the world. The ethical significance of dramatization is not the ability to ‘evaluate’ certain subjective modes of existence, but to produce ways of unfolding the world in which we do not ‘imprison’ others and in which multiple perspectives are allowed to unfold. Love is incapable of such a truly ethical comportment, because the lover is always thrown back onto their own world, trapped within subjectivity, unable to see from two viewpoints at once. A world is most precisely a set of signs, a set of relationships between ‘things’ and ‘meanings’ (senses); therefore, in order to produce more ‘ethical’ worlds, worlds in which we do not ‘explicate’ or imprison ourselves and others too much, we must turn to art. Art is precisely a ‘unity’ in which multiple perspectives are allowed to unfold at their own rhythm. Language perfects this insofar as the creation of new modes of grammatical relation in writing is nothing more than the unification of a multiplicity of relationships between meaning and things.

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Debaise, Didier. "The Dramatic Power of Events: The Function of Method in Deleuze's Philosophy." Deleuze Studies 10, no. 1 (February 2016): 5–18. http://dx.doi.org/10.3366/dls.2016.0208.

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Deleuze's text on dramatization has a peculiar place in his philosophy. In this text, he attributes, for the first time in his own name, a singular function to philosophy. I aim to show that all the notions developed in ‘The Method of Dramatization’ – such as the transformation of the status of Ideas, the first development of a theory of individuation, the decentring of subjectivity, the critique of representation – are part of one general function: to grant events the importance they call for. If a method is required for such an endeavour, it is because thought must become the site of the maximal intensification of what – beyond a psychological or an anthropological point of view – is of importance.

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CHAIKOVSKA, Olha, Iryna HUMENIUK, Anastasiia TROFYMENKO, and Alina KRUK. "Philosophy of Dramatisation in the Context of Art Interaction in W. S. Maugham’s Novels." WISDOM 3, no. 2 (August 15, 2022): 12–22. http://dx.doi.org/10.24234/wisdom.v3i2.734.

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The present study deals with the novel dramatization in the context of the synthesis of the art in the literature of the 20th century. The changes in the literary text caused by introducing a new pictorial and expressive technique are given. The use of pictorial and theatrical ekphrasis in Maugham’s novels was analysed. W. S. Maugham’s novels are considered through the prism of his theatrical experience. The paper attempts to interpret his poetics of dramatization as a way out of the epic and the creation of a qualitatively new multi-plate and multifaceted phenomenon. At the narrative level, there is an interruption in the integrity of the story. Vertical layers add a horizontal plan for the development of the plot, and the subjective structure has changed at the level of inclusion of several storytellers. The study revealed that the connotations to paintings and plays increase the effect of descriptiveness and enrich expressive, emotional, and sensual perception. The method of “points of view” is used to overcome the plane of description and move to the sphere of the display. The clash of diverse “points of view” and their filtering by the dominant “point of view” of the narrator increases the dramatization influence.

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Mawaidi, Suminto A. Sayuti, and Wiyatmi. "SYMBOLIC CONVERGENCE IN ALFIN RIZAL'S INSTAGRAM POETRY." Literature and Literacy 2, no. 1 (June 26, 2024): 45–64. http://dx.doi.org/10.21831/litlit.v2i1.483.

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Literary works such as poetry are no longer limited to books. In the digital age, poetry has also shifted to media that easily accessible by readers. It means that poetry is no longer consumed by specific community only. Poetry can be consumed by people from various demographics; age and gender; and can be expressed by anyone from various backgrounds through social media platforms such as Instagram. This study discussed Instagram poetry from the theoretical perspective of symbolic convergence. The data sources for this research were the poems of Alfin Rizal, analyzed qualitatively. Data was collected from the Instagram account @alfinrizalisme, supported by Alfin Rizal's poetry books. Each piece of poetry content on Alfin Rizal's Instagram was classified into smaller taxonomies to facilitate findings. The findings of this study indicated the dramatization of messages by Alfin Rizal, which impacts public response to his work. This message dramatization takes the form of poetry videos, photo manipulation, background as the setting, and illustrations as a secondary backdrop. Another finding was the construction of symbolic reality, which affects public interaction (followers) who utilize this message dramatization (in the form of Instagram posts with poetry content) to re-communicate to the public through other social media platforms.

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Pajić, Sonja. "Dramatization in teaching Spanish as a foreign language." Zbornik radova Uciteljskog fakulteta Prizren-Leposavic, no. 13 (2019): 201–9. http://dx.doi.org/10.5937/zrufpl1913201p.

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Kumar Maru, Ravindra, and Giriraj Bhojak. "Role of dramatization processes in communication efficiency development." International Journal of Research -GRANTHAALAYAH 6, no. 3 (March 31, 2018): 293–97. http://dx.doi.org/10.29121/granthaalayah.v6.i3.2018.1529.

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Many communication related problems can be seen in the context of a student, it can also be a student's personal, family and school. In such a situation, apart from blocking the gradual development of communication skills, it may contain many such problems related to communication which in turn affect its overall development. The main objective of this paper is to have a deep thought and discussion on this extremely serious subject. एक विद्यार्थी के सन्दर्भ में सम्प्रेषण सम्बन्धित बहुत सी समस्याएं देखी जा सकती हैए ये किसी विद्यार्थी की व्यक्तिगतए पारिवारिक एवं विद्यालयी भी हो सकती है। ऐसे में सम्प्रेषण कौशल के क्रमिक विकास के अवरुद्ध हो जाने के अलावाए उसमें सम्प्रेषण से सम्बन्धित कई ऐसी व्याधियां प्रविष्ठ हो सकती हैं जो कालान्तर में उसके समग्र विकास को प्रभावित करती है। इस नितांत गम्भीर विषय पर एक गहन चिन्तन व चर्चा करना ही इस शोधण्पत्र का मूल उद्देश्य है।

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Savransky, Martin. "Introduction: Isabelle Stengers and the Dramatization of Philosophy." SubStance 47, no. 1 (2018): 3–16. http://dx.doi.org/10.1353/sub.2018.0000.

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Xian, Ruobing. "The Dramatization of Emotions in Iliad 24.552–658." Philologus 164, no. 2 (November 4, 2020): 181–96. http://dx.doi.org/10.1515/phil-2020-0105.

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AbstractThis article argues that the episode in Il. 24.552–658 involving Achilles and Priam brings out the hero’s ability to control his emotions – even if he did lose them momentarily – by means of his calculation of what will come next. This interpretation fits the compositional structure of the epic, whose closure is highlighted by the hero’s dramatized emotions in his encounter with the Trojan king.

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Huk, Romana. "‘Out Past / Self-Dramatization’: Maurice Scully's Several Dances." Irish University Review 46, no. 1 (May 2016): 105–18. http://dx.doi.org/10.3366/iur.2016.0204.

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What has lyric to do with any radical phenomenology's choreography? Maurice Scully in Several Dances asks that question, as he has for years now, alongside other poets of Ireland's avant-garde whose ‘distinguishing (not inhibiting) feature’, as Sarah Bennett writes (acknowledging the work of Alex Davis and Eric Falci before her) is that in it ‘the lyric subject persists’ – in tandem with, this essay argues, what she names ‘an interest in perception … [which] is perhaps the most compelling commonality in these poets' work’. What distinguishes Scully's from the lyric phenomenology of American poets from William Carlos Williams (invoked throughout the volume) to George Oppen (also invoked) is that he queries existentialism's ‘singular’ approach to phenomena, achieved as Heidegger thought through the phenomenological ‘bracketing’ of individual (and communal) preconceptions from the perception of things. Cosmic – even theological – speculation enters in as Scully's poems move out past both self-centered lyric and twentieth-century cancellations of all preconceptions in the ‘limit-thinking’ and being-toward-death that phenomenology proposed for seeing past the self. Yet Scully works with mortality always in his sights too as he sings ‘the Huuuman / Limit-at-tation Blues’ (p.118) and, more vertiginously, considers both the undelimitability and the fragility of us.

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Wailes, Stephen L. "A Dramatization of Social Discontent from Reformation Tyrol." German Studies Review 13, no. 2 (May 1990): 211. http://dx.doi.org/10.2307/1430704.

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Dean, Joan FitzPatrick. "Self-Dramatization in the Plays of Frank McGuinness." New Hibernia Review 3, no. 1 (March 1999): 97–110. http://dx.doi.org/10.1353/nhr.1999.a926660.

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Putri, Risky Chairani. "MEDIATISASI AGAMA DALAM FENOMENA DIMAS KANJENGTAAT PRIBADI SERTA KERJA LOGIKA MEDIA DALAM MEMBENTUK PENGETAHUAN PUBLIK SEBAGAI BAGIAN DARI AGEN SOSIAL DAN PERUBAHAN KULTURAL." Capture : Jurnal Seni Media Rekam 8, no. 1 (August 9, 2017): 75–90. http://dx.doi.org/10.33153/capture.v8i1.1905.

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The phenomenon,Dimas KanjengTaat Pribadi, is unique issues that have shocked in theÂ Indonesian public because of his unbelievable activities (duplicate the amount ofÂ money).This metode of the research is textual;focus onTaat Pribadi news,doubling theÂ money with the religion modus. Mediatisation theory explains about howTaat PribadiÂ work from the mediatisation, what things appear from the religion ,ediatisation , andÂ how the logic of media work in this case (form knowledge) to the public.The findings ofÂ this study are mediatisation religion led to new understanding of the public that led toÂ the substitution of the role of religion and peeps quast-religious.The logic of the mediaÂ make the knowledge from public that the reporting on this case a shift is no longerÂ focused on the case of deception,but tend to focus on the dramatization of the mediaÂ or in other words experiencing commoditization of media content,as well as the logicof the media creating a privateTaat Pribadi as a new celebrity.Keywords: Mediatization, religion, logic media, commodification, and dramatizationÂ media

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Papagageorgiou, Vasileios. "A Study of Primary School Teachers’ Tendencies Regarding the Usefulness of Dramatization in the Educational Process." International Journal of Cognitive Research in Science, Engineering and Education 10, no. 2 (August 31, 2022): 145–62. http://dx.doi.org/10.23947/2334-8496-2022-10-2-145-162.

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In this article, we attempt to examine the general teachers’ attitudes towards dramatization and the differences that arise according to their major demographic elements, using inferential statistics methodology. Our sample consists of 60 (sixty) Greek teachers, of which 15 (fifteen) are male and 45 (forty-five) are female respondents. The teachers completed all questionnaire’s statements correctly (without missing values), allowing us to draw valuable conclusions on both their knowledge and their perspectives regarding the usefulness of dramatization in a school environment and the necessity of its inclusion in the educational process. The analysis focuses both on the general teachers’ tendencies and the existing differences that are caused according to the respondents’ sex, age, years of experience and their willingness of working with immigrant students. Our analysis is carried out via the Mann-Whitney, Kruskal-Wallis and chi-square statistical tests. These statistical methods are ideal for the comparison of data resulting from questionnaires based on the Likert scale, providing trustworthy and valuable conclusions about the attitudes towards the inclusion of drama in the educational procedure. This paper reveals important existing differentiations in the viewpoints of Greek primary school teachers in terms of dramatization in education, while it brings out a quite positive attitude towards the benefits of including drama in the teaching process of primary schools.

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Stemnark, Jean Kerr, Pam Beck, and Harold Asturias. "Assessment: A Room with More Than One View." Mathematics Teaching in the Middle School 1, no. 1 (April 1994): 44–49. http://dx.doi.org/10.5951/mtms.1.1.0044.

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Rumyantseva, E. M., and I. A. Orlova. "Summarizing Lesson "Periodic Law and Periodic System of D.I. Mendeleev"." Chemistry at School, no. 4 (April 1, 2024): 25–31. http://dx.doi.org/10.62709/0368-5632-2024-4-25-31.

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Wiame, Aline. "A Thought without Puppeteer: Ethics of Dramatization and Selection of Becomings." Deleuze Studies 10, no. 1 (February 2016): 33–49. http://dx.doi.org/10.3366/dls.2016.0210.

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In order to understand how Deleuze's method of dramatization is ‘not privileging mankind in any way’, this article turns to the figure of the marionette as it is discreetly, but consistently, developed thorough Deleuze's books. Inspired by Kleist's On the Marionette Theatre, this marionette figure claims for a rhizomatic approach to the subject, defined by the lines it draws into space and exercising its freedom in the present of Aion through spatio-temporal dynamisms similar to those of Leibniz's monads. The strange freedom developed by marionettes also leads to an examination of Nietzsche's ‘eternal return’, which is at the core of Deleuze's elaboration of the method of dramatization. Combining Nietzsche's eternal return with the characteristics of Deleuzian marionettes then requires us to revisit the famous concept of ‘becoming’: becomings are selective, both methodologically and ontologically.

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Drake, Frederick, and Denee Corbin. "Making History Come Alive." Teaching History: A Journal of Methods 18, no. 2 (September 1, 1993): 59–67. http://dx.doi.org/10.33043/th.18.2.59-67.

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People of all ages Jove a story that involves heroes and villains. They particularly like to observe characters confronted with difficult choices and personal decisions over issues with relevance to their Jives. That is why biography is popular with students of all ages. It provides a personalized account of the past through the humanized perspective of a single historical figure. Even more engaging is a Jive dramatization, especially for students. It enlivens history by making the dead past come alive.1 In presenting the life and times of people and events through dramatization, a teacher can bridge the gap in the battle between the "old" and "new" history.2 We believe a teacher should emphasize both political and social history, allowing students to pose questions to historical figures addressing the full realm of historical conditions.

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Cromer, Gerald. "The Rhetoric of Victimization: An Analysis of the Coverage of Intifada El-Aqsa in the Israeli Press." International Review of Victimology 12, no. 3 (September 2005): 235–45. http://dx.doi.org/10.1177/026975800501200302.

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Using a number of concepts from John Best's work on the rhetoric of claims making, this article analyses the Israeli press of the Intifada EI-Aqsa. It revolves around two major themes — the severity of the Palestinian terrorist attacks and the undeserved fate of the Israeli victims. Reporters repeatedly engaged in the dramatization of injury and the dramatization of innocence. Bearing in mind the influence of the press on public perceptions of the conflict between the two peoples, it is clear that the extent and nature of the coverage, together with the almost total lack of attention to Palestinian casualties, reduces the chances of breaking the mutual cycle of victimization. The adoption of a non-monolithic stance and a dual-concern model, it is suggested, would help overcome the egoism of victimization that typifies this and other relationships between traumatized national groups.

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Journal articles on the topic 'Dramatization'

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