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Journal articles on the topic 'Man-woman relationships – italy – drama'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Olszewska, Maria Jolanta. "A contribution to the history of theater in the interwar period. A few words about Zofia Nałkowska’s Dom kobiet once again." Czytanie Dwudziestolecia 1 (2024): 103–20. https://doi.org/10.16926/cd.2024.01.06.

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Zofia Nałkowska’s drama Dom kobiet (1928) turns out to be an ambiguous, multi-layered and complex work. The performance on the stage of the Polish Theater in 1930 became an important cultural event in Poland at that time. The writer, known for her psychological novels, took the trouble to write a drama. Working on the drama and then staging it became a big challenge for her. Thanks to this, she got to know the world of theater, which she became fascinated with it. The house of women can be read as a moral, psychological and reflective-philosophical drama. It is a testimony of the writer’s stru

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Bollobás, Enikő. "Versions of Triangular Desire in Hungarian Literature: Reading Sándor Márai and Péter Nádas." Hungarian Cultural Studies 11 (August 6, 2018): 48–56. http://dx.doi.org/10.5195/ahea.2018.321.

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Two Hungarian authors, Sándor Márai and Péter Nádas, seem to have one thing in common: their attraction to triangular relationships. Written between 1935 and 1942 and portraying human relations in pre-World War II Hungary, Márai’s two novels and one drama all turn on a very specific triangular structure between two close friends and the woman whom they both love(d). Now they conduct a painful tête-à-tête to decide on the final ownership (or simply fate) of the woman. Written in 1979 and portraying human relations in communist Hungary, Nádas’s play has only two actors on stage, a woman of arist

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Zaichenko, Dariya A. "SEPHARDIC MATRIMONIAL RELATIONSHIPS IN THE EARLY MODERN DIASPORA." Journal of the Institute of Oriental Studies RAS, no. 4 (18) (2021): 131–44. http://dx.doi.org/10.31696/2618-7302-2021-4-131-144.

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At first sight it may seem that family relationships lie just in the sphere of private life and historical sources which describe them may tell us little about the organization of Jewish community or about the interaction between the Jewish community and local non-Jewish authorities. However, the term ‘matrimonial relationships’ has a wide range of aspects. This work is an attempt to illuminate some of them. The article is dedicated to matrimonial relationships in the Jewish community of Avignon in the second half of the sixteenth century. It is made like a case-study and based on the scandal

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4

Ruchira P Dudhrejiya. "A critical analysis of power dynamics in Vijay Tendulkar's theatrical tapestry." Scientific Temper 15, spl-2 (2024): 166–70. https://doi.org/10.58414/scientifictemper.2024.15.spl-2.26.

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Drama stands out from other literary genres because of its immediate appeal, which offers a level of accessibility that poetry and fiction may not always provide. Drama gains great value from this. Theatrical performances have a rich and distinguished history worldwide. In India, they are well-recognized as a popular kind of folk entertainment. When drama is presented on stage, everyone, even the most uneducated person, can understand it and enjoy it. One of the biggest advantages of drama is this. Conversely, the production of Indian plays in English is a very recent development. Dramatists l

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Kaczmarek, Tomasz. "« La lutte des sexes », ou les stéréotypes sur les femmes dans Une vie secrète de Lenormand, La Valse des toréadors d’Anouilh et Capitaine Bada de Vauthier." Romanica Silesiana 16, no. 2 (2021): 124–35. http://dx.doi.org/10.31261/rs.2019.16.12.

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August Strindberg is considered the herald of modern drama. His protean work, which goes from naturalism to mystical aesthetics, anticipating surrealism and the theater of the absurd, even today defies, as it did in his epoch, by its brutal or cruel aspects. Without any doubt, the origin of a certain mistrust towards the author of Inferno would be his declared misogyny. It could be criticized on this subject for disclosing prejudices against women, which in the form of stereotypes, survive to this day. Nevertheless, many French playwrights are inspired by the infernal conflict between man and

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Colombo, Emanuele. "A Muslim Turned Jesuit: Baldassarre Loyola Mandes (1631-1667)." Journal of Early Modern History 17, no. 5-6 (2013): 479–504. http://dx.doi.org/10.1163/15700658-12342378.

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Abstract The goal of this article is to show, through a case study of a convert from Islam to Catholicism in the seventeenth century, how multi-faceted and complex the phenomenon of conversion is, where political, social, and religious factors are intertwined. The article recounts the conversion story of Mohammed el-Attaz, later known as Baldassarre Loyola (1631-1667). Son of the king of Fez (Morocco) of the Saʿadian dynasty, Mohammed was captured on his way to Mecca by the Knights of Malta; he converted to Christianity, went to Italy, became a Jesuit, and spent some years of his life converti

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7

Pei, YongTing. "Opera women’s characters in the context of paired images (on the example of G. Bizet’s opera “Сarmen”)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 68, № 68 (2023): 125–41. http://dx.doi.org/10.34064/khnum1-68.07.

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Statement of the problem. The study of the dramaturgy of the world-famous Georges Bizet’s opera «Carmen» remains an unsolved question in modern domestic musicology. However, a deep understanding of drama is the key to a successful performance and is directly related to the activity of conductors, vocalists, and instrumentalists who participate in the production of an opera. The general issues of musical dramaturgy are represented in the scientific articles by O. Beloіenko (2020), V. Vyshynsky (2016), O. Chyrkov (2006); the main problems of the opera genre are studied in the works by V. Rozhоk

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8

Burganova, Maria A. "Letter from the editor." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (2021): 6–8. http://dx.doi.org/10.36340/2071-6818-2021-17-4-6-8.

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Dear readers, We are pleased to present to you Issue 4, 2021, of the scientific and analytical journal Burganov House. The Space of Culture . Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scien - tific Journals and Publications in which the main sci - entific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by lead - ing specialists in various humanitarian fields, doctor - al students, and graduate students.

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9

Willemijn Fock, C. "werkelijkheid of schijn. Het beeld van het Hollandse interieur in de zeventiende-eeuwse genreschilderkunst." Oud Holland - Quarterly for Dutch Art History 112, no. 4 (1998): 187–246. http://dx.doi.org/10.1163/187501798x00211.

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AbstractOur ideas of what 17th century Dutch interiors looked like have been conditioned by the hundreds of paintings of interiors by Dutch genre painters. Even restorations and reconstructions in our own time (fig. 1) are influenced significantly by them. It is therefore of vital importance to our knowledge of the history of Dutch interior decoration to realise what we can or cannot believe, and to compare these genre interiors with other sources such as probate inventories, building specifications, plans, conditions of sale, contemporary descriptions such as travellers' reports, etc. It is t

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10

Schino, Mirella. "Studio per due attrici: Adelaide Ristori ed Eleonora Duse." Drammaturgia, December 22, 2023, 93–108. http://dx.doi.org/10.36253/dramma-14998.

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This essay investigates the relationship between two outstanding actresses, Adelaide Ristori and Eleonora Duse. They are the reference points for two opposing generations, and very different models in terms of art, repertoire choices, leadership. But they are linked by a surprising personal relationship. Dealing with these figures and their relationship also opens a gateway to other issues: the physiognomy of the two generations involved; the change, not only stylistic, between them; the kind of gaze of the older on the younger; women’s issue in theatre. In order to study 19th century theater,

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Mathur, Suchitra. "From British “Pride” to Indian “Bride”." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2631.

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   The release in 2004 of Gurinder Chadha’s Bride and Prejudice marked yet another contribution to celluloid’s Austen mania that began in the 1990s and is still going strong. Released almost simultaneously on three different continents (in the UK, US, and India), and in two different languages (English and Hindi), Bride and Prejudice, however, is definitely not another Anglo-American period costume drama. Described by one reviewer as “East meets West”, Chadha’s film “marries a characteristically English saga [Austen’s Pride and Prejudice] with classic Bollywood format “transf

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12

Warner, Kate. "Relationships with the Past: How Australian Television Dramas Talk about Indigenous History." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1302.

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In recent years a number of dramas focussing on Indigenous Australians and Australian history have appeared on the ABC, one of Australia's two public television channels. These dramas have different foci but all represent some aspects of Australian Indigenous history and how it interacts with 'mainstream' representations of Australian history. The four programs I will look at are Cleverman (Goalpost Pictures, 2016-ongoing), Glitch (Matchbox Films, 2015-ongoing), The Secret River (Ruby Entertainment, 2015) and Redfern Now (Blackfella Films, 2012), each of which engages with the past in a unique

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Chen, Shih-Wen Sue, and Sin Wen Lau. "Post-Socialist Femininity Unleashed/Restrained: Reconfigurations of Gender in Chinese Television Dramas." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1118.

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In post-socialist China, gender norms are marked by rising divorce rates (Kleinman et al.), shifting attitudes towards sex (Farrer; Yan), and a growing commercialisation of sex (Zheng). These phenomena have been understood as indicative of market reforms unhinging past gender norms. In the socialist period, the radical politics of the time moulded women as gender neutral even as state policies emphasised their feminine roles in maintaining marital harmony and stability (Evans). These ideas around domesticity bear strong resemblance to pre-socialist understandings of womanhood and family that a

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14

Holden, Todd Joseph Miles. "The Evolution of Desire in Advertising." M/C Journal 2, no. 5 (1999). http://dx.doi.org/10.5204/mcj.1773.

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She's the dollars, she's my protection; she's a promise, in the year of election. Sister, I can't let you go; I'm like a preacher, stealing hearts at a traveling show. For love or money, money, money... Desire -- U2, "Desire" (1988) For the love of money. In the worship of things. Desire has traditionally been employed by advertising as a means of selling product. Regardless of culture, more powerful than context, desire is invoked as one of capitalism's iron-clad codes of quality. The Uses of Desire in Advertising Specifically, two variants have been most common. That in which desire is: (1)

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15

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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16

Reid Boyd, Elizabeth, Madalena Grobbelaar, Eyal Gringart, Alise Bender, and Rose Williams. "Introducing ‘Intimate Civility’: Towards a New Concept for 21st-Century Relationships." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1491.

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Fig. 1: Photo by Miguel Orós, from unsplash.comFeminism has stalled at the bedroom door. In the post-#metoo era, more than ever, we need intimate civil rights in our relationships to counter the worrisome prevailing trends: Intimate partner violence. Interpersonal abuse. Date rape. Sexual harassment. Online harassment. Bullying. Rage. Sexual Assault. Abusive relationships. Revenge porn. There’s a lot of damage done when we get up close and personal. In the 21st century, we have come far in terms of equality and respect between the genders, so there’s a lot to celebrate. We also note that the A

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17

Gordon, Robert M. "The Medea Complex and the parental alienation syndrome." June 16, 1998. https://doi.org/10.5281/zenodo.7647006.

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Although Parental Alienation Syndrome is induced by mothers, fathers, grandparents and same sex parents, it is far more common with mothers. We are more likely to abuse the people who are most available and under our power. Men tend to abuse women, and mothers are more likely to abuse their children. In my child custody evaluation work, I have seen many mothers aggress against their children's fathers by turning their children against him. In the process, they do great harm to their children. When I work with patients who were turned against a parent, they often have a great deal of the re

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18

Caldwell, Tracy M. "Identity Making from Soap to Nuts." M/C Journal 6, no. 1 (2003). http://dx.doi.org/10.5204/mcj.2149.

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The release of the film Fight Club (Dir. David Fincher, 1999) was met with an outpouring of contradictory reviews. From David Ansen’s [Newsweek] claim that “Fight Club is the most incendiary movie to come out of Hollywood in a long time” (Fight Club DVD insert) to LA Times’s Kenneth Turan who proclaimed Fight Club to be “…a witless mishmash of whiny, infantile philosophising and bone-crushing violence that actually thinks it’s saying something of significance” (Fight Club DVD insert), everyone, it seemed, needed to weigh in with their views. Whether you think the film is a piece of witless and

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19

Pryor, Melanie, and Amy Mead. "Let Me Walk." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1482.

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Let me walk. Let me go at my own pace. Let me feel life as it moves through me and around me. Give me drama. Give me unexpected curvilinear corners. Give me unsettling churches and beautiful storefronts and parks I can lie down in. The city turns you on, gets you going, moving, thinking, wanting, engaging (Elkin 37, emphasis our own). Walking Is ThinkingAs feet pound the pavement, synaptic movement follows. To clear the head, one must get up and walk.In her 2016 book Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, Lauren Elkin traces the figure of the walking woman—

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20

Raney, Vanessa. "Where Ordinary Activities Lead to War." M/C Journal 9, no. 3 (2006). http://dx.doi.org/10.5204/mcj.2626.

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   “The cop in our head represses us better than any police force. Through generations of conditioning, the system has created people who have a very hard time coming together to create resistance.” – Seth Tobocman, War in the Neighborhood (1999)   Even when creators of autobiographically-based comics claim to depict real events, their works nonetheless inspire confrontations as a result of ideological contestations which position them, on the one hand, as popular culture, and, on the other hand, as potentially subversive material for adults. In Seth Tobocma

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21

Kincheloe, Pamela. "Do Androids Dream of Electric Speech? The Construction of Cochlear Implant Identity on American Television and the “New Deaf Cyborg”." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.254.

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Cyborgs already walk among us. (“Cures to Come” 76) This essay was begun as a reaction to a Hallmark Hall of Fame television movie called Sweet Nothing in My Ear (2008), which follows the lives of two parents, Dan, who is hearing (played by Jeff Daniels), and Laura, who is deaf (Marlee Matlin), as they struggle to make a decision about whether or not to give their 11-year-old son, Adam (late-deafened), a cochlear implant. Dan and Laura represent different perspectives, hearing and deaf perspectives. The film dramatizes the parents’ conflict and negotiation, exposing audiences to both sides of

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22

Fuller, Glen. "Punch-Drunk Love." M/C Journal 10, no. 3 (2007). http://dx.doi.org/10.5204/mcj.2660.

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   For once I want to be the car crash, Not always just the traffic jam. Hit me hard enough to wake me, And lead me wild to your dark roads. (Snow Patrol: “Headlights on Dark Roads”, Eyes Open, 2006) I didn’t know about the online dating site rsvp.com.au until a woman who I was dating at the time showed me her online profile. Apparently ‘everyone does rsvp’. Well, ‘everyone’ except me. (Before things ended I never did ask her why she listed herself as ‘single’ on her profile…) Forming relationships in our era of post-institutional modes of sociality is problematic. Some proba

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23

Holden, Todd. ""And Now for the Main (Dis)course..."." M/C Journal 2, no. 7 (1999). http://dx.doi.org/10.5204/mcj.1794.

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Food is not a trifling matter on Japanese television. More visible than such cultural staples as sumo and enka, food-related talk abounds. Aired year-round and positioned on every channel in every time period throughout the broadcast day, the lenses of food shows are calibrated at a wider angle than heavily-trafficked samurai dramas, beisboru or music shows. Simply, more aspects of everyday life, social history and cultural values pass through food programming. The array of shows work to reproduce traditional Japanese cuisine and cultural mores, educating viewers about regional customs and his

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