Academic literature on the topic 'Juvenile drama'

Drama Korea memiliki fungsi sebagai media guna menyebarkan pesan, nilai serta kebiasaan di masyarakat. Drama Korea Juvenile Justice membahas isu kriminal anak-anak remaja. Drama ini memberikan persperktif seorang hakim dalam menangani beragam perkara tersebut dengan asertivitasnya, dimana di indonesia saat ini masih belum tersedia drama televisi dengan tema drama ruang pengadilan. Tujuan penelitian ini adalah untuk mengetahui representasi asertivitas dari seorang hakim saat menangani persoalan kasus dan menjatuhkan vonis hukuman pada pelaku kriminalitas remaja dalam serial Juvenile Justice. Penelitian ini menggunakan pendekatan semiotika kualitatif milik John Fiske. Hasil penelitian menunjukkan bahwa asertivitas ada secara verbal dan non-verbal. Secara verbal, berani beda pendapat, rinci dalam berbicara, tepat dalam intonasi, dapat mengendalikan emosi, memberi kesempatan kepada lawan bicara untuk berpikir dan bersuara, serta mengungkapkan fakta sesuai dengan kenyataan. Non-verbalnya secara jarak saat kontak fisik dan berbicara, bahasa tubuh juga penampilan. Orang dengan kompetansi, punya bahasa tubuh yang baik, memprioritaskan formalitas dan memiliki kontrol emosional yang baik adalah penggambaran asertivitas yang ditampilkan.

In this essay Adrienne Scullion explores the representation of war – and in particular of the Second World War – in contemporary theatre for children, considering how the narrative and performative conventions of drama communicate ideas about the conflict to young audiences. She argues that a taxonomy identified in relation to juvenile war literature – discourses of testimony and documentary, propaganda and escapism, myth and metaphor – resonates just as significantly in drama. This proposition is investigated in readings of three recent plays – Stephen Greenhorn's King Matt (TAG, 2001), David Greig's Dr Korczak's Example (TAG, 2001), and Nicola McCartney's Lifeboat (Catherine Wheels, 2002). She proposes that all three plays make different use of the conventions of telling war stories and those of theatrical performance to represent and describe war and, thereby, to explore contemporary values and expressions of citizenship – a declared goal of public policy-making in the UK. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow.

Literary works are often used as a medium to criticize and explain social problems experienced by society. One of these literary works is the drama script West Side Story by Arthur Laurenst. This study focuses on the criticism of several social problems described in the play West Side Story. This study uses the method of content analysis of literary texts which are then interpreted by researchers. Research data sourced from the play West Side Story was collected using the library research method. Through analysis with the Sociology of Literature approach which focuses on sociological aspects in a work, it is found that there is a critique of social problems described in the play West Wide Story. The criticism is related to the problem of poverty which leads to violence and deprivation; juvenile delinquency in the form of immoral acts as a result of family disharmony; wars that cause damage to the natural environment; and degrading and harassing women.

A premissa básica deste artigo é analisar o drama coreano Juvenile Justice a partir dos princípios consagrados no Estatuto da Criança e do Adolescente (ECA). Pesquisas jurídicas recentes indicam que a relação entre os vários tipos de produções artísticas e o Direito podem apresentar discussões sobre temas relevantes para o desenvolvimento da sociedade. Dessa forma, neste artigo pretendemos observar as temáticas abordadas na série e associá-las com a legislação brasileira sob a perspectiva da interdisciplinaridade e do Direito Comparado. O método utilizado foi o dedutivo com abordagem qualitativa, fazendo uso da técnica de pesquisa bibliográfica por meio do nível explicativo. Os resultados indicam que de fato há relação do seriado Juvenile Justice com a temática dos jovens infratores, em que foi observado a riqueza de detalhes na obra cinematográfica, podendo ser feito a relação com diversos eixos do Direito, no caso deste estudo foi feito em relação a infrações praticados por menores, a questão da discriminação existente principalmente entre adolescentes, a postura do juíz mediante problemas que envolvam menores infratores, levando em consideração a humanização desses, bem como levou-se em consideração também as medidas socioeducativas previstas pelo Estatuto da Criança e do Adolescente. Conclui-se, portanto, sobre a importância da pesquisa referente a crianças e adolescentes no que concerne a infrações e medidas de combate a essa criminalidade já presente na infância.

The language in media stories surrounding the high drama of juvenile and youth crime is very alarmist and continues to fuel political debates and demands for tougher penalties rather than the proverbial slap on the wrist for young offenders. Further there are fear discourse elements that suggest that for some politicians cited in the daily news cycle as being “out of control”. In opposition to this fear and alarmist discourse in the notion that the media news cycle highlights youth crime for its sensationalist perspectives and poor reporting of youth courts and their judgments in such matters. A comprehensive discourse analysis of youth crime reporting may suggest that media must take the blame for some of the inappropriate focus on youth crime as being selective. This yearlong study suggests that the public need more information to see for themselves whether the current moves and political debates need to be reviewed and refreshed. In addition, family supports are a signal to consider as presented by expert authorities involved in decision making and reporting.

Summary This article is continuation of the writer’s research into the role of Piotr Skarga in the thought and teaching of Pope John Paul II. The results of the initial investigations focused on the creation of the character of Skarga in Karol Wojtyła’s juvenile drama Jeremiah (1940) were presented in a paper read at a conference on Piotr Skarga at the Ignatianum Academy in Cracow in May 2012. Now, having assumed that Karol Wojtyła read Skarga’s Sermons already in his schooldays, the writer of this article combs all of John Paul II’s statements for references to the famous 16th-century Jesuit preacher. Then the references are traced to the original and subjected to a systematic review aimed at establishing their structure and role in articulating John Paul II’s message for his audiences, and in a broader sense, for Poland. The article also considers other, analogous occasions when the Pope chose not to reach out to the Skarga armory, although he could well have done so.

Theater, including drama, plays for an underaged audience, is considered an active mechanism for reproducing or challenging gender relations in power that reflects the ideological and political beliefs of a society. Under such circumstances, it is interesting to discover whether theatrical texts for children and youth gender fairness and to investigate whether or not traditional and stereotypical perceptions govern the way male and female citizens are presented in theatrical texts. The purpose of this research is to investigate theatrical texts addressed to children and youth as to the way in which men and women are portrayed as citizens. The research material was decided to consist of theatrical texts, namely texts with dramatic features, such as dialogical form, plot, etc., addressed to a juvenile audience, which was published in Greece, by Greek authors, during the period 1985-1995. In order to achieve the individual aims and objectives of the present research, the content analysis method was used. According to the results of the study, the analysis of activities of the heroes in children’s theatrical works shows that men have power in their hands, make political decisions, and have active and decisive roles in social life. They are the leaders and those who control the society’s fortune, whereas women are generally detached from any serious political, social, and economic activity or decision. The theatrical works for children portray the woman only in the capacity of a mother or housewife without any dynamic presence in modern socio-political life.

At the beginning of the twentieth century about one in twenty American teenagers graduated from high school; by mid century over half of them did so; and today six of seven do. Along with this expansion in graduation, the experiences of high schooling became more significant. Though diversity existed at the school level, by the interwar period most high schools offered courses in “higher” academic subjects (literature, mathematics, and ancient and foreign languages), while they gave large numbers of students a chance to practice music, drama, and other fine arts. Business leaders and educators developed programs in technical-skill training. Courses in household economics, personal hygiene, and sex and reproduction appeared as well. A few schools operated with two shifts: day and night Many maximized their capacity by rotating students between newly constructed gymnasiums, stadiums, fields, swimming pools, showers, cafeterias, laundries, machine shops, laboratories, performance halls, and libraries. Some provided up-to-date diagnostic and preventative medical and psychological services. Others developed vocational guidance. Nearly all established relationships with juvenile justice and youth custody agencies. More than any other institution, the increasingly comprehensive high schools of the twentieth-century redefined the social lives of American youths through teams, clubs, bands, and groups engaged in a long list of contests, games, performances, and other events. Early in the century extracurricular activities began to rival formal class work as the primary focus of secondary schooling. Today there is a joke told from Ohio to Texas, funny for its sad truth. Q: How do you pass a school levy? A: Put football on the chopping-block.

(descriptivo): este artículo da cuenta de la investigación cualitativa que pretende incluir a la subcultura del metal en el aula de inglés como lengua extranjera (ILE) en Chile, utilizando la enseñanza contextualizada y las técnicas teatrales. En primer lugar, se otorgan algunos antecedentes relacionados con el ILE en Chile. En segundo lugar, se desarrolla una revisión bibliográfica, en la que se describe a las subculturas juveniles, los metaleros como subcultura, la motivación para aprender ILE, la enseñanza contextualizada y finalmente las técnicas dramáticas. En tercer lugar se entrega la metodología de investigación utilizada (entrevistas y observación no participante) y algunos de los resultados obtenidos. En último lugar, se presentan conclusiones y una propuesta pedagógica que se sirve de esta investigación para incluir la subcultura juvenil del metal en el aula de ILE. Palabras clave: subcultura, juventud, enseñanza de una segunda lengua, lengua extranjera, inglés, drama (Tesauro de Ciencias Sociales de la Unesco). Palabras clave autoras: Subcultura del metal, enseñanza contextualizada.

Critical notes on 4 species of the genus Draba L. are reported: D. eschscholtzii Pohle et N. Busch, D. borealis DC, D. juvenilis Kom. and D. prozorovskii Tolm. Lectotypes were designated for D. eschscholtzii and D. juvenilis. Two new varieties (D. borealis var. interior V. V. Petrovsky and D. borealis var. arctoborealis V. V. Petrovsky) are described. The key for identification of Chukotian plants of D. borealis and D. juvenilis is suggested. The ranges of all studied Draba species are specified.

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Este trabalho aborda os possíveis nexos entre experiência de vida familiar e envolvimento juvenil com a criminalidade. A especificidade desta relação é analisada de um ponto de vista psicológico, porém inserido em um campo interdisciplinar. Através da discussão do conceito de drama, originalmente proposto por Politzer, e do conceito de intersubjetividade familiar, procura-se na esfera de narrativas de jovens e familiares alguns fios que tecem a trama dos vínculos entre o mundo juvenil e o da criminalidade.
Salvador

FundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
ABSTRACT This paper reports registrations from about 50 writers, who can be drama-players, from the first generation in the 1940âs to the last one (up to 2001), or drama-players from GuriÃ, in the west coast of Cearà and even its players who followed their famous presentations. Such intense collection of beginning drama-playersâ and drama mistressesâ life stories shows their productions were immortalized by outstanding inventiveness in each production and also for incursions very appreciated by the neighbouring communities, which appreciated strongly the presence of these juvenile aesthetic productions. The intense methodological transformations are narrated because this research and its researcher were in touch with these intensities mentioned by the writers. We point out these interviewees were quite influenced by the circus, theater, movie, radio, magazines, books, television and other shows which they had access to. Analyzing the 60 years of several drama-players generationsâ stories, we noticed these ones kept themselves under masculine dominance and how much they were always submissive to their own desires at representing and setting up their transitory stages, because their expressions were nomadic. It registers a possible lesson and directed to the bureaucratic speech of decision-making organs of Brazilian Basic Education and it can come off from the drama-playersâ speeches, to anyone who wants to hear and produce inquiries about the official and obligatory educational sameness.
RESUMO Este trabalho relata os registros de cerca de 50 memorialistas, seja de dramistas, desde a 1 geraÃÃo na dÃcada de 1940 Ãs representantes da Ãltima geraÃÃo (atà 2001), de dramistas de GuriÃ, no litoral oeste do Cearà ou ainda de seus tocadores que acompanhavam suas famosas apresentaÃÃes. Tal conjunto intenso de histÃrias de vidas das aprendizes-dramistas e das mestras de drama, mostra que suas produÃÃes foram imortalizadas por marcante inventividade a cada produÃÃo e tambÃm por incursÃes muito apreciadas pelas comunidades vizinhas que apreciavam demasiadamente a presenÃa destas produÃÃes estÃticas juvenis. SÃo narradas as intensas transformaÃÃes metodolÃgicas por que a pesquisa e a pesquisadora passaram no contato com estas intensidades vivas ditas pelas memorialistas. E ressalta-se que estas entrevistadas foram bastante influenciadas pelo circo, teatro, cinema, rÃdio, revistas, livros, televisÃo e outros espetÃculos a que tiveram acesso. Percorrendo os 60 anos de histÃrias de vÃrias geraÃÃes de dramistas, percebeu-se que estas se mantiveram à margem da dominaÃÃo masculina e do quanto sempre foram submissas mesmo aos seus desejos de representar e de montar juntas os seus transitÃrios palcos, pois suas expressÃes eram nÃmades.Registra-se uma liÃÃo possÃvel e encaminhada ao discurso burocrÃtico dos ÃrgÃos de decisÃo da EducaÃÃo BÃsica Brasileira e que pode se desprender das falas das dramistas, a quem queira ouvir e produzir indagaÃÃes sobre a mesmice educacional oficial e obrigatÃria.

Die vorliegende Arbeit befasst sich mit dem Kinder- und Jugendtheater im deutschsprachigen Raum, genauer mit dem Theater für Kinder und Jugendliche, um einer Verwechslung des Theaters mit Kindern und Jugendlichen vorzubeugen. Behandelt wird vorwiegend das professionelle Theater für junge Zuschauer mit ausgebildeten Schauspielern als Phänomen des 20. Jahrhunderts unter Ausklammerung anderer weitverbreiteter Formen des Theaters für Kinder, wie das Puppen-, Figuren-, Musik- und Tanztheater. Die Arbeit beschränkt sich auf die Untersuchung des Märchentheaters. An allen Bühnen für Kinder- und Jugendtheater in Deutschland können Märchenspiele auf den Spielplänen festgestellt werden, die bekannte Märchen zur Vorlage haben. Dabei handelt es sich meistens um Dramatisierungen von klassischen Märchen der Brüder Grimm (Aschenputtel, Dornröschen, Rumpelstilzchen, König Drosselbart usw.), zum Teil sind es aber auch Bearbeitungen von Andersens oder Perraults Märchen für die Bühne. Märchen werden als „Klassiker“ des deutschen Kindertheaters bezeichnet. Deshalb sollen sie hier ausführlich besprochen werden, denn es sind immer wieder Märchenaufführungen, die heftige Diskussionen ausgelöst haben und noch immer auslösen. Bei den Dramatisierungen und Bearbeitungen der verschiedenen epischen Vorlagen verfahren die Autoren individuell verschieden. Während sich einige streng an den Handlungsablauf der Vorlage halten, greifen andere einzelne Motive heraus und gestalten damit ihr eigenes Märchenspiel. Es liegen aber auch Märchenspiele vor, in denen Motive aus verschiedenen Vorlagen zusammengesetzt und verquickt sind. Weitere Märchenspiele wiederum weisen in der Handlung nur noch eine ganz schwache Verwandschaft mit der epischen Vorlage auf. Doch über solche äußerlichen Unterschiede hinaus ist infolge der Märchendramatisierung der resultierende Text, d.h. das Märchenstück, nach Form und Inhalt kein dramatischer Text mehr, sondern ein „Zwitterprodukt“, das zwischen Erzählung und Drama angesiedelt und daher auch nicht mehr der gattungshistorischen Trias von Lyrik, Epik und Dramatik zuzuordnen ist. Insofern verlangt es nach einem neuen Verständnis auf Gattungs- und Bedeutungsebene. Für eine Untersuchung der Übertragungsmomente durch den Gattungswechsel ist eine Definition des Begriffs des Dramas erforderlich, sowie seine Abgrenzung und Unterscheidung von demjenigen des zur Dramatisierung ausgewählten Grundlagentextes, des Märchens also. Die Erhebung von Merkmalen im Sinne einer Herausarbeitung gattungsspezifischer Unterschiede zwischen epischem und Bühnentext verdeutlicht die Herausforderungen, denen 2 sich Bühnenbearbeiter stellen müssen. Über die individuell schöpferische Leistung hinaus geht mit einer jeden Bearbeitung von Märchen für die Bühne ein vielfältiges Umschalten formeller Konventionen aus entgegengesetzten Gattungssystemen einher, die im Laufe der Jahrhunderte ausgeformt worden sind. Auf der Bühne trifft das Bemühen von Märchenbearbeitern insofern nicht nur auf neue bühnengerechte Darbietungsverfahren, sondern auch auf beträchtliche gattungsbezogene Maßnahmen. Eine weitere Komponente in der Untersuchung bildet die konkrete Textanalyse zur Verdeutlichung der Prozesse durch die Gattungsübertragung. Dies erfolgt bei uns grundsätzlich durch die Besprechung von konkreten Beispielen aus einem repräsentativen historischen Korpus von 15 Autoren bzw. Autorenteams: 14 aus dem traditionellen Märchenstück und einer aus der modernen Variante. Unsere Aufmerksamkeit gilt dabei insbesondere der Auseinandersetzung mit Letzterem, Friedrich Karl Waechter (1937-2005), einem der erfolgreichsten Stückeschreiber seiner Zeit im Kontext der Dramatisierung von Märchen. Es ist zu betonen, dass die hier analysierten Stücke auf Märchen der Brüder Grimm basieren. In der Analyse werden die Kategorien Handlung, Figur, Raum und Zeit untersucht. Ziel ist es, einerseits zu klären, welche gattungsspezifischen Merkmale Märchenstücke aufweisen, und andererseits die Veränderungen aufzuzeigen, die Bühnenbearbeiter am Grundlagentext vornehmen und welche Formen dieser annimmt, wenn sie Erzmuster der epischen Kunst, so wie Märchen es sind, für die Bühne adaptieren. Zwar belegt die Analyse unterschiedliche Herangehensweisen bei der Dramatisierung und Bearbeitung von Märchen. Doch über die Unterschiede hinaus werden viele Parallelen in der Gestaltung und Ästhetik der vorliegenden Märchenstücke ersichtlich, die uns an allgemein übliche Bearbeitungskriterien denken lassen. Alle Märchenstücke zeugen von einer an das Originalmärchen angelehnten Struktur. Außerdem weisen sie in der Handlung eine starke Verwandschaft mit der Vorlage sowie eine stärkere Typisierung der Figuren auf. Die Arbeit möchte also nicht nur einen Beitrag zur Analyse von Märchenstücken leisten, sondern stellt auch den Versuch dar, verschiedene Formen der Märchendramatik im Bereich des Kinder- und Jugendtheaters in Deutschland zu erklären. Es wird allerdings nicht darauf abgezielt, die Diagnose einer bestimmten Zeit zu erstellen. Vielmehr geht es hier um eine gattungspoetische Auseinandersetzung.
This dissertation deals with the children’s and youth theatre in the German-speaking field,or more accurately, with the theatre for children and adolescents; basically devoting itself to the investigation of fairy-tale theatre. Folk and fairy tale adaptations as a theatrical genre along with their aesthetic have dominated the repertory of German children’s theatre for a long time (see chapter 1) and here, therefore, they are to be discussed in detail. Authors proceed in different ways when they adapt tales into plays. While some keep strictly to the sequence of events of the original tale, others pick out single motives in order to retell the story on stage. There are also many adaptations that use motives from different stories and combine them into crossovers, and many others that show within the performance only quite a weak affinity with the original tale. Beyond that, as a result of the fairy-tale dramatization the resultant text is not a dramatic text any more, but a “hybrid” product between narrative and drama. In this regard, it doesn’t fit into the tripartite system of genres (narrative, drama, poetry) any more. To be able to understand transference moments between genres, a definition of the concepts is required. Therefore, as a preliminary framework, chapter 2 provides a definition of the concept of “drama”, as well as its differentiation to that of the basic text chosen for the adaptation: the fairy tale. It is only by gathering the formal features of genre and recognizing the essential differences between an “original” text and a scripted play that one becomes aware of the challenges adapters are confronted with while adapting the narrative text for the stage. Beyond individual creative achievements, every fairy tale stage adaptation is accompanied by a varied switching of formal conventions from opposing systems of genre which have been formed over many centuries. We clarify the key concepts of this approach through a close reading of selected texts and a discussion of specific examples. The analysis presented in chapter 3 is based on a representative historical corpus of 15 authors or author’s teams: 14 from the traditional fairy-tale model, that is, in the tradition of the 19th century children’s comedy, and one from the modern fairy tale variant. Here we focus on Friedrich Karl Waechter (1937-2005), whose modern adaptions of Grimms’ tales became influential for repertories. Our aim is to uncover what features characterize the genre of the fairy-tale play.

碩士
亞洲大學
休閒與遊憩管理學系碩士班
97
The problems of teenagers have become serious increasingly, which result in more attention on the studies of juvenile delinq uency then ever. From the leisure standpoint, this research discusses the effect created by drama therapy in acting on juvenile delinquency, then making some interaction with related theories of art therapy. This study puts to use the methods of qualitative studies including of observing and participating, countryside daily recording and in-depth interviewing. It shows that there is usually a quite complex background and growing experiences being company with juvenile delinquency. Therefore, their backgrounds of life and characters of leisure are generally content of mental over-stress, constraint, disorder, out of focus, and the lack of self-confidence. By participating in the activities of drama, they produce a series of the action of leisure, such as relaxation, escape, self-consciousness, selflessness, sublimation, and self-achievement. Moreover, the following changes in their opinions, attitude, and behaviors happened on themselves, family, and human relationship. Yet, these changes result from the pent-up demands satisfied for the leisure liberty. This study from an integral standpoint of leisure is different from previous researches of art therapy, which mainly based on several kinds of art theories to deliberate psychological effect and behavior adjustments. We touch abundant experiences of leisure liberty during the drama psychotherapy. Through cases study, we point out that how important leisure experiences played in drama art psychotherapy as an agency. The findings of this study might enrich the related theories, catch more attention in future related researches, and in addition improve the lent support to projects of juvenile delinquency.

碩士
國立臺灣藝術大學
表演藝術教學碩士學位班
101
This research focuses on the influence of Creative Drama teaching and youth theatre performance on the juvenile delinquents in the Correction High School. Through Creative Drama teaching, students’ performing ability improves, and the creating process influences the growth of their personality. The main study method used in this research is case study, supported by the CBPI and qualitative research. Hopefully, the result of this research can serve as an example of the planning and practicing of performing arts curriculums in correction schools. Conclusions are stated as the following: 1. After the teaching of Creative Drama, the students’ abilities of the Youth Theatre Performance improve greatly. 2. Creative Drama Teaching and Youth Theatre Performance make great influence on the juvenile delinquents on artistic creations. 3. After the teaching and the performing of Creative Drama, the juvenile delinquents' personalities have an obvious progress towards maturity. 4. Creative drama teaching and performing can help teachers of performing arts improve their teaching and result of curriculum. The results of the study can serve as a valuable reference for future curriculum design of drama.

碩士
國立臺南大學
戲劇創作與應用學系碩士班
96
The focus of this research is, through drama activity classes and directed to a family group formed by the protective control juvenility of juvenile court and the parents, to apply qualitative research method to collect and record relative information and further to discover whether Juvenile delinquents have improved their self-concept and their relationships with parents. At the same time, in the beginning and later on of the curriculum, the research focuses on the teenagers and apply the “Tennessee self concept scale” and the “tien-ma Father, Mother and Child Relationship Inventory” in order to get quantitative research data to assist qualitative research’s angle and solidity. There are a few conclusions from the part of qualitative research: first, the aim setting for the whole curriculum and the uses of multi-media match the needs of the group members; through their participation, they positively feedback drama activities’ intention. Second, slight adjustment for the curriculum can help to prevent unexpected situations; third, according to the door to door interviews, parents and the teenagers’ in self-concept and their relationships have positive growth and interaction. Fourth, Juvenile court affirmatively approved drama activities’ functions to the parents and the teenagers, and it also diversifies Juvenile court’s classes. Fifth, to expand the efficiency of drama activity applies in different areas. Sixth, to enhance activity leader’s necessary leading skills. At the same time In the part of quantitative research also received teenager''s self-concept、parent and children relationship obviously improved partly. This research is according to the research process and discovery and given relative suggestions individually to the practice of the activities and for the future researchers.

The aim of this study is to explore the importance of love in its various manifestations in the lives of the Harry Potter characters and its power to consequently influence the paths that they eventually choose to walk. Love is investigated as the reason behind the choice between good and evil as well as paradoxically both a fortifying as well as a destructive force. Furthermore, it attempts to examine the importance that love plays in the healthy or dysfunctional development of the characters. Numerous philosophies and theories that span two different eras will form the theoretical framework of this research paper. There will be a constant interplay between the theories and the main text, that is, the seven Harry Potter books that together represent the Harry Potter series. Additionally, the author‟s opinion acquired from invaluable fan interviews will be utilized in order to improve the understanding of the characters motivations. The introduction is a brief explanation of key terms and theories that are essential to the exploration of love in the Harry Potter series. The study comprises five chapters. The first three chapters are concerned with the three main manifestations of love represented in the series, namely; parental love, friendship and romance respectively. Chapter Four focuses on the adaptation of the novels into movies and the subsequent result that this has on the depiction of love. Chapter Five highlights the finding of the study conducted.
English Studies
M.A. (English)

Abstract The old guard reacted predictably to Bohm’s theory, but were obliged to concede its logical consistency. Oppenheimer denounced it as ‘juvenile deviationism’. With the help of his communist assistant, Jean-Pierre Vigier, de Broglie re-embraced the pilot wave theory he had abandoned in 1927. Pauli claimed that de Broglie had relapsed to his ‘shadow physics beer-idea wish dreams’ under Bohm’s ‘devilish influence’. The old guard rallied in the face of this French recidivism. Bohm and Vigier argued that the wave field could be modelled as a fluid and a particle as an inhomogeneity in the fluid, subject to many small random fluctuations. Owing to these vicissitudes, any arbitrary statistical distribution of inhomogeneities will tend towards the value dictated by the Born rule. Few were persuaded. The squabbling between Einstein and Born continued as the old guard began to fall, and as Bohm left Brazil first for Israel, and then England.

Abstract In 1959 Pier Paolo Pasolini was asked by Vittorio Gassman to translate Aeschylus’ Oresteia. The translation was intended to be an essential part of an innovative project, which would have revolutionized the classic performance praxis of Syracuse’ s ‘ Festival of Ancient Drama’.1 Although Pasolini already had some juvenile experience in translating Greek poetry (for example Sappho into Friulan dialect) and tragedy, this was to be his Wrst public engagement with it. In a short essay published in the programme, the ‘ Lettera del traduttore’2 he openly discloses his method of translation. Pressed by production deadlines Organized by the National Institute of Ancient Drama (INDA). This is the most popular and long-lasting festival of Greek and Roman drama in Italy.

Charles Macklin’s career invites us to think about what happens when the actor steps ‘out’ or ‘off’ the stage into the pages to feature as a character in an extended printed and fictional narrative. What is the role of the actor in the business of novelistic character? And is the representation of a well-known actor in a novel different from that of other non-acting celebrities? The chapter addresses these three questions through three different parts Macklin played in the history of the novel: first, as a walk-on part adding to the realism of a novel in Maria Edgeworth’s Harrington (1817); second, as the subject of (fictionalised) and novelistic pseudo-biography in Edward Kimber’s Juvenile Adventures of David Ranger (1757); third, as an author-actor very aware of the rise of the novel as a challenge to the (classical) authority of stage drama and especially stage satire in his own dramatic works, especially two meta-theatrical pieces, The New Play Criticiz’d (1747) and The Covent Garden Theatre; or, Pasquin turn’d Drawcansir (1752).