To see the other types of publications on this topic, follow the link: Moral drama.
Dissertations / Theses on the topic 'Moral drama'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 33 dissertations / theses for your research on the topic 'Moral drama.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Al-Bustan, Lamees Ahmed. "Social and moral education through drama : a force for change." Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401817.
Full textAbstract:
From its organised origins, there has always been a view that drama has had an educational potential. For much of its history drama has been tied to the religious, moral and social aspects of the community in which it has been produced. This dissertation is a consideration of the educational potential of drama and theatre as a social and moral force. It will examine some contemporary educational debates and will provide a broad background of the relationship of drama to social and moral education. The dissertation will also examine the Drama in Education movement in Britain and its relationship with social and moral education. For the purpose of this research, the consideration of both the development of drama and the debate of where best to place drama in relation to theatre, English and other Arts in Britain is examined to draw out conclusions and recommendations for the Kuwaiti context. Given that the Kuwaiti experience is largely about theatre, the renewed relationship between school drama and theatre in Britain will be considered to help to identify not only the development of drama in schools, but also various ways in which aspects of drama have evolved and what lessons can be learnt from the British experience. This will ultimately assist in devising guidelines for drama and theatre to be implemented in the Kuwaiti context. The key focus of this dissertation is not the research on the British experience, but rather on the conclusions that can be drawn from it. The British experience has provided the essential material for identifying trends, key questions, lessons to be learnt and recommendation in the re-evaluation of drama and theatre in Kuwait. The research will conclude with a proposed theoretical and practical framework of how it would be possible to introduce drama, for the first time, into the Kuwaiti education system and as a way to revitalise its theatre movement.
2
Hogan, Sharon. "Being ethical : how process drama assists pre-service drama teachers to reflect on professional ethics." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/26436/1/Sharon_Hogan_Thesis.pdf.
Full textAbstract:
This research thesis focuses on the experiences of pre-service drama teachers and considers how process drama may assist them to reflect on key aspects of professional ethics such as mandatory codes or standards, principled moral reasoning, moral character, moral agency, and moral literacy. Research from higher education provides evidence that current pedagogical approaches used to prepare pre –professionals for practice in medicine, engineering, accountancy, business, psychology, counselling, nursing and education, rarely address the more holistic or affective dimensions of professional ethics such as moral character. Process drama, a form of educational drama, is a complex improvisational group experience that invites participants to create and assume roles, and select and manage symbols in order to create a fictional world exploring human experience. Many practitioners claim that process drama offers an aesthetic space to develop a deeper understanding of self and situations, expanding the participant’s consciousness and ways of knowing. However, little research has been conducted into the potential efficacy of process drama in professional ethics education for pre-professionals. This study utilizes practitioner research and case study to explore how process drama may contribute to the development of professional ethics education and pedagogy.
3
Hogan, Sharon. "Being ethical : how process drama assists pre-service drama teachers to reflect on professional ethics." Queensland University of Technology, 2008. http://eprints.qut.edu.au/26436/.
Full textAbstract:
This research thesis focuses on the experiences of pre-service drama teachers and considers how process drama may assist them to reflect on key aspects of professional ethics such as mandatory codes or standards, principled moral reasoning, moral character, moral agency, and moral literacy. Research from higher education provides evidence that current pedagogical approaches used to prepare pre –professionals for practice in medicine, engineering, accountancy, business, psychology, counselling, nursing and education, rarely address the more holistic or affective dimensions of professional ethics such as moral character. Process drama, a form of educational drama, is a complex improvisational group experience that invites participants to create and assume roles, and select and manage symbols in order to create a fictional world exploring human experience. Many practitioners claim that process drama offers an aesthetic space to develop a deeper understanding of self and situations, expanding the participant’s consciousness and ways of knowing. However, little research has been conducted into the potential efficacy of process drama in professional ethics education for pre-professionals. This study utilizes practitioner research and case study to explore how process drama may contribute to the development of professional ethics education and pedagogy.
4
Grimm, Gunter E. "Von der Käuflichkeit der Moral. Dürrenmatts Drama "Der Besuch der alten Dame"." Gerhard-Mercator-Universitaet Duisburg, 2002. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-09052002-161208/.
Full text
5
Ahern, John N. "Conscience, the Other and the moral community: a study in meta-ethics and tragedy /." Burnaby B.C. : Simon Fraser University, 2006. http://ir.lib.sfu.ca/handle/1892/2676.
Full text
6
Janzen, Richard G. "The didactic demons of drama, moral instruction on magic in the plays of Greene and Gryphius." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ60058.pdf.
Full text
7
Sparks, Richard. "Television and the drama of crime : moral tales and the place of crime in public life /." Buckingham [u.a.] : Open Univ. Press, 1992. http://www.gbv.de/dms/spk/sbb/recht/toc/276912519.pdf.
Full text
8
Guglielmo, Federica. "Moral citizenship : an ethnographic exploration of the category of victimhood in post-genocide Rwanda." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/13751.
Full textAbstract:
In order to foster social reconciliation in the aftermath of the 1994 genocide, the Rwandan government has implemented a judiciary system and established a national commemoration period. More importantly, in order to eradicate the ideological foundation of the genocide, the government has outlawed ethnicity as a cornerstone of genocidal propaganda. Ethnography shows that these efforts have been only partially successful and that ethnicity occupies a central, silent space at the centre of Rwandan national politics and social interaction. In this work, I shed light over the entanglement between the memory of the genocide and social identities in Rwanda. I explore the ways in which ordinary Rwandans re-situate their ethnic background through moral categories that surface from the government’s historical narrative of the genocide and of the events that led to it. I analyse the means through which this narrative is established, the judicial enforcement and the memorialisation of the genocide, to illustrate the patterns of blame and legitimacy that saturate these historical constructions. Within these contexts, I explore the ways in which individuals exercise tactical agency in order to re-place their ethnic past in relation to these narratives. Drawing on in-depth ethnographic fieldwork, I argue that the government’s narrative of the genocide constitutes a moral landscape in relation to which actors acquire — or are denied — instances of victimhood. Negotiation over these instances take the form of accusatory practices which, more or less explicitly, are used in everyday life to define selfhood and otherness with respect to the genocide. My research shows how, cutting across former ethnic boundaries, the category of victimhood represents a form of empowerment, which dialectically depends on the identification of perpetratorship.
9
Winston, Joe. "An inquiry into the relationship between drama, traditional stories and the moral education of children in primary schools." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/59524/.
Full textAbstract:
This thesis is an inquiry into the relationship between drama and traditional stories and their potential contributions, when used together, to the moral education of young children. The stimulus for this inquiry has stemmed from my own academic interests and professional practice as a teacher educator for the primary age range. It is underpinned by a belief that this is an area which has been both under-researched and under-theorised but that it is nonetheless of interest and importance for drama teachers, primary teachers and others who share an interest in the moral development of young children. The research has proceeded with two parallel but closely related forms of inquiry. The one has been an academic investigation into those theoretical issues which underpin the project and the other has consisted of fieldwork within primary classrooms, centred upon my own teaching. In its final form, the thesis is presented in two parts of roughly equal length, the one concentrating on theoretical concerns, the other consisting of a critical analysis of my own classroom practice, where issues of theory are investigated as they directly impinge upon it. However, it has been a key aim throughout this project to relate theory closely to practice, so that the one might continually inform the other as the research progressed. In the introduction, I give an account of the genesis of the inquiry, provide an argument for its significance to the contemporary educational debate and give a clear exposition of its parameters. In Part I, I begin with a discussion of current developments in moral educational theory and make the case for the importance of narrative and narrative literature in the development of moral understanding. In applying these theories to literary versions of traditional tales, however, it becomes quickly clear that the area is problematic and informed by contradictory theories and profound disagreement. I propose that the narrative form of these tales is inappropriate to didactic moral teaching and argue that a perspective which is informed by their mythic and oral origins is best placed to help our understanding of how they can be harnessed for the purposes of moral learning. I argue that there are historical and artistic reasons for seeing an important role for drama. in this process and examine how moral processes are engaged and informed by the dramatic event. In Part IT, I introduce the fieldwork with a critical look at how the practices of drama in education can be used to engage children in ethical exploration as defined within the parameters of this inquiry. I provide a detailed account of the research methodology followed by three case studies, each of which recounts and analyses a series of lessons with three separate classes of children, centred around three distinct traditional tales. These case studies are discursive in nature, each focusing upon issues and questions generated by the particular stories and lessons. They are informed by the theoretical exposition in Part I but generate their own theoretical perspectives and hypotheses which I propose to have implications for general classroom practice within this area. In the concluding chapter, I propose that the theoretical thrust and practical findings of the project signal an important role for drama in a school's moral education policy and suggest particular areas of inquiry which would further inform this argument.
10
Guyver, Lynn. "Post Cold War moral geography : a critical analysis of representations of eastern Europe in post 1989 British fiction and drama." Thesis, University of Warwick, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246786.
Full text
11
Bastani, Nava Corinne. "A project proposal for the formation of People’s Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2149.
Full textAbstract:
Thesis (MPhil (School of Public Management and Planning))--University of Stellenbosch, 2007.In the present chaos surrounding society, youth are in dire need of tools that will enable them to navigate life’s tests and help them understand their role in building a new world civilisation. It is not enough though merely to hear and profess grand ideals, action needs to accompany words. Action happens when ethics and spiritual principles are integrated at a deep level and become part of an individual’s character. The following mini thesis is a project proposal for the formation of a Drama Workshop called People’s Theatre. People’s Theatre aims to help youth become of service to humanity through the internalization of morals and through the realization of their spiritual identity and their oneness with the entire human race. The project proposal begins with an explanation of why the project is being implemented on a local level and where it fits in on a global level. The project utilises three component parts that are seen as necessary if the project is to be sustainable. There are dramatic, moral education and service component parts to the project. The dramatic component will focus particularly on the ZIPoPo method which has been chosen due to it being a powerful medium of expression as well as its focus on positive decision making and moral development. Following this, the project proposal goes into detail concerning the necessary steps needed to be taken in order to practically implement the project and make it a success. The format follows a typical project proposal format. Another factor that was decided upon in order to help make the project more sustainable was that the project would be divided into three main phases. These phases are talked about throughout the proposal. There is also an analysis about why certain activities were chosen and how to take advantage of any opportunities that may arise and lead to the further success of the project. Particular attention was paid to how to make the project truly sustainable and participatory and in this way enable it to succeed. Empowerment begins by teaching people how to walk their own path to development. The following project proposal provides a detailed plan on how to help youth to do just that.
12
Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /." Link to the online version, 2007. http://hdl.handle.net/10019/1670.
Full text
13
Refini, Eugenio. "Teatro del mondo, teatro dell'anima. Sondaggi sul codice allegorico nel dramma morale del tardo Rinascimento." Doctoral thesis, Scuola Normale Superiore, 2010. http://hdl.handle.net/11384/86072.
Full text
14
Tiesset, Laurent. "L'image de Néron au théâtre : étude dramaturgique, morale et politique." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030039.
Full textAbstract:
Tacite et Suétone laissent une image délirante de Néron, tout à la fois matricide perfide et histrion précieux, amant insatiable ou Orphée cocasse. La dramatisation de ces visions antagonistes se poursuit depuis l’antiquité depuis l’Octavie du Pseudo-Sénèque jusqu’au Britannicus de Racine. Loin de nous proposer une énième effigie tragique du despote latin, le XVIII e siècle présente une image paradoxale de Néron : d’abord celle d’un despote timoré et peu sanguinaire dans l’œuvre d’Alfieri puis celle d’un dictateur artiste du crime qui se suicide sur scène avec Legouvé. Le sang répandu signifie la mort du classicisme et ouvre la voie au romantisme. Soumet prolonge et accentue la paradoxale vision d’un être sanguinaire et sensible, qui tue pour être libre de s’adonner à sa passion de la scène. C’est ce qu’a bien saisi Marceau qui montre un artiste brimé qui assassine pour compenser ses faiblesses artistiques. A l’inverse, pour Hubay, le crime est l’art théâtral par excellence car il métaphorise la mort de l’esthétique précédente. Le dramaturge hongrois invente un Néron comique. Par ses crimes, le dictateur dramaturge crée la modernité. Il incarne métaphoriquement l’œuvre théâtrale. Il est l’Artiste dramatique qui transmute l’horreur du monde en beauté et sa victime innocente se transcende en objet esthétique. L’artiste tyran assassine par métaphore les conventions arides à respecter, toujours en quête de sensations nouvelles, d’émotions esthétiques à la fois coupables et ensorcelantes. Le meurtre néronien est quête de l’ailleurs esthétique, plasticage plastique des normes, redéfinition de l’œuvre, déflagration, incendie, fureur, motFrom Roman History, Nero calls attention to him because he both symbolizes the top of the criminal figures and the highest slaughtering actor. This opposition is drawned by all the playwrights from Pseudo-Seneca till Racine who casts the last portrait of the Roman murderer in the climax of the French classicism. However, the Italian poet Alfieri contests this idea. He draws a threatened, distrusted and frightened imperator. To continue this thought, the French Revolution shows on stage Nero’s death. With Legouvé, the dangerous artist commits suicide on stage. The blood, which droops over the scene, translates the end of the French classicism and the beginning of a new area : romanticism. Soumet finishes Britannicus describing a Nero fond of Greek plays. The matricide is set to music and dances by the bombastic murder. Killing his mother is a lyrical party. Nero the bloodthirsty practices playing as well as slaughtering. The decay ! of, Nero’s picture provides a real comic vision of beheading. Marceau looks at the master of offences as a dangerous fool : his jokes are pitiful. In the opposite, Hubay succeeds in painting a hilarious despot : the cleverest performer of the Roman world. He uses to entertain the audience by “kil-ling jokes” ! He brilliantly turns death to performance. To conclude, Nero’s image is reversed. He becomes a comical dictator
15
Janardanan, Dipa. "Images of loss in Tennessee Williams's The glass menagerie, Arthur Miller's Death of a salesman, Marsha Norman's Night, mother, and Paula Vogel's How I learned to drive." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11122007-085911/.
Full textAbstract:
Thesis (Ph. D.)--Georgia State University, 2007.Title from file title page. Matthew C. Roudane, committee chair; Pearl McHaney, Nancy Chase, committee members. Electronic text (208 p.) : digital, PDF file. Description based on contents viewed Feb. 28, 2008. Includes bibliographical references (p. 192-208).
16
Ranke, Wolfgang. "Theatermoral : moralische Argumentation und dramatische Kommunikation in der Tragödie der Aufklärung /." Würzburg : Königshausen & Neumann, 2009. http://d-nb.info/991845668/04.
Full text
17
Burton, Sarah. "The public woman : an investigation into the actress-whore connexion." Thesis, Royal Holloway, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286296.
Full text
18
Isley, Edwin L. "Farce, critique sociale, et comedie morale chez Moliere." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/539802.
Full textAbstract:
Critical studies on the comic drama of the seventeenth-century French playwright, Jean-Baptiste Poquelin de Moliere (1622-1673), center attention on biography, production, stylistics, and thematic development. Because of the diversity of themes, and because of the considerable productivity of this dramatist, the analyses of the style and substance of these comedies have often been focused on the use of themes or techniques employed in a single comedy or associated with one single sort of comedy. This thesis, "Farce, critique sociale, et ccm6die morale chez Moliere," proposes to deepen, in two ways, our appreciation of Moliere's combined use of themes and techniques that, in turn, create three sorts of comic modes. First, through a close reading of three of Moliere's major plays (Le medecin malgre lul, Les Precieuses ridicules, and Misanthrope), this thesis attempts to describe the techniques that develop and elucidate a particular comic focus, and thereby enhances our awareness of Moliere's recognition of the necessary relationship between theme and technique in the creation of comedy. The description of this use of comic techniques and the subsequent development of themes encourage classification of these representative plays into three sorts: farce, social comedy, and moral comedy. Such a classification thus expands the narrow perspective of criticism, and encourages a study of the necessary relationship between theme and technique and, perhaps, will suggest future study of the development of Moliere's comic artistry.Department of Foreign Languages
19
NORBERTO, MARCELO DA SILVA. "LE DRAME DE L AMBIGUÏTÉ: LA QUESTION DE LA MORALE DANS L ÊTRE ET LE NÉANT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24564@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Ce travail se propose à réfléchir sur la question morale dans L Être et le néant, en proposant d abord l analyse des hypothèses théoriques qui pourront permettre une morale existentialiste. Pour cela, on s occupe en particulier du thème de l ambiguïté humaine, traitée par Sartre dans l analyse du problème du néant et des conduits de mauvaise foi. Après, on considère l action humaine comme l efficacité de la liberté, mettant l accent sur les possibilités de choix. Enfin, on discute la mesure dans laquelle l ambiguïté humaine, fondée sur la liberté, demande une morale et en même temps produit un embarras pour sa réalisation dans une dimension prescriptive.
Este trabalho pretende refletir sobre a questão moral em O Ser e o Nada, propondo uma análise dos pressupostos teóricos que permitiriam ou não uma moral existencialista. Para isto, ocupa-se especialmente com a questão da ambiguidade humana, tratada por Sartre na análise do problema do nada e das condutas de má-fé. Em seguida, considera a ação humana como efetivação da liberdade, enfatizando o âmbito da escolha. Por fim, discute em que medida a ambiguidade humana, fundada na liberdade, reclama uma moral e, ao mesmo tempo, produz embaraços para a efetivação desta mesma moral em sua dimensão prescritiva.
20
BERGAMASCHI, MATTEO. "PERFORMANCE DIVINO-UMANA. LA CONCETTUALITA' DEL DRAMMATICO NELLA PROPOSTA TEOLOGICA DI H.U. VON BALTHASAR." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6181.
Full textAbstract:
La tesi è dedicata allo studio sistematico del ruolo del drammatico nell’ermeneutica teologica di H.U. von Balthasar. Essa non ricostruisce i riferimenti alla storia del teatro, al suo rapporto con le istituzioni ecclesiastiche o a tematiche di singoli autori, bensì intende verificare la potenzialità del drammatico da un punto di vista di ermeneutica teologica. Si è così studiata la funzione del drammatico non nei prolegomena alla teologia o dal punto di vista della comprensione dell’esistenza storica del soggetto umano, bensì là dove Balthasar tratta specificamente il cuore dei misteri cristiani (cristologia, soteriologia, escatologia), verificando se il riferimento al drammatico è esteriore o invece intrinseco. Si è inteso quindi determinare il concetto di dramma che unifica la riflessione balthasariana (dramma come incontro di libertà) e infine indagare quale modello teatrale sia concretamente impiegato nella teologia dogmatica dell’autore. La tesi sostiene che, nella misura in cui Balthasar si volge a descrivere i concetti cardine della dogmatica cattolica, il paradigma di riferimento non è più il teatro della rappresentazione, bensì la drammaturgia della performance. Conclude la tesi un’appendice in cui si confronta la proposta balthasariana con le opere di Artaud (nella lettura di Derrida e Nancy), Stanislavskij e Grotowski.The thesis is a systematic study of the role of theatre and drama in the theological hermeneutics of H.U. von Balthasar. The aim is not to explain the history of theatre, the relationship between theatre and ecclesiastical institutions, or themes of particular playwrights, but to expose the relevance of dramatics for theological investigation. The work studies the scope of dramatics neither in the theological prolegomena, nor in the historical existence of human beings; it studies its function in the exposition of Christian dogmatic (Christology, soteriology, eschatology), verifying if its role is external or intrinsic. The work investigates which concept of drama is adopted in the theology of von Balthasar (drama as encounter of freedoms), and which model of theatre is used in his dogmatic. When Balthasar exposes the key concepts of catholic theology, he leaves the traditional “theatre of representation” and refers to dramatic performance. The appendix compares the theatrical model of von Balthasar to the works of Artaud (following Derrida and Nancy), Stanislavskij and Grotowski.
21
Bile, Sembo-Backonly Anicette Irène. "De la réforme esthétique à la réflexion sociopolitique : une lecture des drames de Louis-Sébastien Mercier." Paris 3, 2008. http://www.theses.fr/2008PA030069.
Full textAbstract:
Louis-Sébastien Mercier (1740-1814) est un artisan du drame. Sa participation à la réflexion esthétique a été couronnée par une vaste production théâtrale. Tout en reposant sur les grands textes théoriques de l’auteur, le présent travail privilégie les drames, pour lire les orientations de la réforme dramatique menée par Mercier. Il s’agit de suivre la pensée de celui qui parle de l’écrivain « flagellateur du vice », « chantre de la vertu », afin d’analyser les moyens dramatiques et dramaturgiques par lesquels la réforme esthétique aboutit, dans ses drames, à une réflexion sur la transformation de la société. Drames bourgeois, drames héroïques ou pièces nationales, et drames historiques sont analysés ensemble, pour voir comment toutes ces catégories rendent compte du pouvoir donné au théâtre, et permettent de comprendre l’idéal littéraire, politique et social de Mercier. La première partie procède à la mise en place. Elle s’attache non seulement à parcourir les grandes idées de réforme soutenues par Mercier, mais aussi à présenter le répertoire choisi. Il s’en dégage une conception particulière de la représentation des conditions, qui constitue finalement la matrice de la réflexion sociopolitique que les deuxième et troisième parties révèlent à travers des tableaux, des figures, des discoursLouis-Sébastien Mercier (1740-1814) is a craftsman of the drama. Its participation in the aesthetic reflexion was crowned by a vast theatrical production. While resting on the large theoretical texts of the author, this work privileges the dramas, to read the orientations of the dramatic reform which it carried out. It is a question of following the thought of Mercier who speaks about the writer “flagellator of vice”, “cantor of the virtue”, in order to analyze the dramatic and dramaturgic means by which the esthetic reform leads, in its dramas, with a thought on the transformation of the society. Middle-class dramas, heroic dramas or national plays, and historical dramas are analyzed together, to see how all these categories account for the capacity given to the theater, and make it possible to understand the Mercier’s literary, political and social ideal. The first part makes for the installation. It not only sticks to traverse the great ideas of reform supported by Mercier, but also to present the selected repertory. It releases a particular conception of the representation of the conditions, which constitutes finally the matrix of the sociopolitic reflexion that the second and the third parts reveal through paintings, figures of characters, speeches
22
Laurin, Cécilia. "Admirables criminels : éthique et poétique du spectaculaire dans le théâtre de Pierre Corneille." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030066.
Full textAbstract:
La présente étude interroge les opérations de la tension criminelle dans le théâtre de Pierre Corneille dans un double mouvement : celui de la construction de l’ethos des grands personnages criminels et celui de l’effet de leur spectacularisation sur la scène – le second dépendant du premier – à partir de l’analyse de l’esthétique de l’admiration telle que la pratique le dramaturge. Elle montre comment s’opère et opère le travail d’ « admirabilisation » de ces personnages, qui permet un jeu particulièrement réfléchi sur la dialectique de l’être et du paraître et sur les pouvoirs de la spectacularité, notamment à travers les personnages féminins, qu’elle propose de considérer comme un reflet de la puissance du genre théâtral lui-même. Elle pose également plus généralement la question de l’agence, qui repose sur la tension entre activité et passivité, entre action et passion. Ultimement, l’admirable criminel, à l’image de tout sujet cornélien, apparaît librement déterminé par la plus grande de ses passions : la passion de soi, autre nom de sa gloire. La spectacularisation de l’admirable criminel repose alors sur une dramatisation du soi, qui se révèle et s’offre en spectacle au reste du monde pour faire coïncider son ethos projectif et son ethos effectif, dans un mouvement souvent marqué par une tension vers la mort, qui permet d’imprimer définitivement sa gloire sur la scèneThe present study questions the use and operation of criminality in Pierre Corneille’s plays, in a double aspect : through the elaboration of the ethos of great criminal characters and through the effects of their spectacularization upon the stage – the latter depending on the former – based on an analysis of the aesthetics of admiration [wonder] that the playwright produces. It tends to show how operates and is operated the « wonderization » of such characters, which allows an exceptionally reflexive dialectical tension between essences and appearances and a reflection of the power of spectacularity, especially through feminine characters, which are here considered as mirroring images of the power of theatrical art itself. It interrogates more generally the question of agency, and its functioning interactions between activity and passivity, between action and passion. Eventually, the amazing criminals, not unlike any cornelian subject, appears to be freely defined by their greatest passion of all : self-passion, which can serve as an alternative name for their « gloire ». Their spectacularization thus revolves around a dramatization of the self, unveiling and offering it to the eyes of the rest of the world, in an attempt to make the projective ethos coincide with the effective ethos. Such dynamics are often characterized by fatal leanings, death being the ultimate expression of their gloire upon the stage
23
Rauer, Selim. "Les frontières de l'exil, ou les figures et territoires de l'étranger." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030057.
Full textAbstract:
Cette thèse de doctorat, intitulée « Les frontières de l’exil : figures et territoires de l’étranger», vient questionner les notions de frontière et d’exil dans les périodes postcoloniale et post-Shoah. Ces notions sont ici caractérisées comme des territoires à la fois spirituels, politiques, symboliques, et économiques, dans lesquels une expérience de la domination est vécue, souvent subie, par des individus ou des groupes stigmatisés par leur origine ethnique, leur sexe, leur culture, ou leur condition socio-économique notamment. En me rattachant à superstructuration politique, culturelle, et historique de cette expérience de la domination, Selim Rauer tente de montrer comment, dans les ères postcoloniale et post-Holocauste, une économie mondialisée recrée ou intensifie en fait le concept de « zone (s) » - telle qu’il a été défini par Frantz Fanon dans Les damnés de la terre, 1961 – générant ainsi des centres et des marges permettant d’établir des espaces culturels et géographiques procédant d’une généalogie raciale, sexuelle venant soutenir des dynamiques économiques qui dérivent de la théologie politique, comme c’est le cas du néolibéralisme et de l’ultralibéralisme aujourd’hui. La figure de l'ennemi (ou celle de l'adversaire) est au cœur de ce système de pensée. L’ennemi est une représentation biopolitique et théologique essentielle dans une réflexion productive liée à l’altérité, à la figure multiforme de l'étranger, à travers laquelle une conception spécifique de la frontière peut être établie comme limite ou division, plutôt que comme trait d'union. Cette réflexion procède de la lecture et de l’analyse d’un corpus littéraire français et francophone alliant à la fois le roman, le drame, le récit et l’essai de 1945 à aujourd’hui. Les œuvres de ce corpus littéraire sont issues d’écrivains tels que Jean Genet (1910-1986), Patrick Modiano (1945), Bernard-Marie Koltès (1948-1989), Koffi Kwahulé (1956), Marie NDiaye (1967), Wajdi Mouawad (1968), et Léonora Miano (1973). Chacune de leurs œuvres regroupées ici donne à voir une certaine expérience du pouvoir, de l’aliénation, de la souveraineté et de la biopolitique dans un cadre éthique et morale qui inévitablement met en lumière et sonde le « mal ». Un mal qui, comme l'a exprimé Rüdiger Safranski, dérive d’une certaine pratique de la liberté (Le Mal, ou le théâtre de la liberté, 1997/1999)This doctoral dissertation, entitled The Borders of Exile: Figures and Territories of Foreignness, reinterprets the notion of the border as an expanding territory of estrangement and seclusion in the aftermath of colonialism and the Shoah, in an era characterized by global market economies. While allegedly situated beyond racial and sexual hegemonic claims, Selim Rauer shows how this globalized economy, in fact, recreates or intensifies a concept of “zone(s)” --as defined by Frantz Fanon in Les damnés de la terre, 1961--that draws centers and margins, and establishes sites of domination structured by a historical and political unconscious. At the core of this unconscious lies the figure of the enemy or the adversary. The latter is an essential biopolitical and theological representation of otherness and foreignness through which a specific border definition can be established as limit rather than hyphen. Thus, in this project, Rauer scrutinizes a multidimensional literary corpus comprised of works by figures such as Jean Genet (1910-1986), Patrick Modiano (1945), Bernard-Marie Koltès (1948-1989), Koffi Kwahulé (1956), Marie NDiaye (1967), Wajdi Mouawad (1968), and Léonora Miano (1973), each of whose works investigate a certain definition and practice of power and sovereignty as part of an ethical and moral reflection on “evil,” or as Rüdiger Safranski defined it, as the moral and ethical burden that accompanies the practice of freedom (Evil, or the Drama of Freedom, 1997)
24
Murakami, Ineke. ""Public, scurrilous and profane" transformations in moral drama and political economy, 1465-1599 /." 2005. http://etd.nd.edu/ETD-db/theses/available/etd-11292005-131852/.
Full text
25
Kermode, Lloyd Edward. "Alien stages: Immigration, reformation, and representations of Englishness in Elizabethan moral and comic drama." Thesis, 1998. http://hdl.handle.net/1911/19275.
Full textAbstract:
This dissertation discusses the complex representation of foreigners in sixteenth-century English drama. It relates literary evidence to contemporary implicit and overt allegations that vices brought to England by both immigrant aliens and returning English travelers were corrupting, infecting, or "alienating" England and the English.
My thesis argues that, during the Elizabethan period, the English experienced an increasing awareness of their own "national" identity vis-a-vis immigrant aliens and ideas of the alien "other" in literary representation. Such awareness spawned an English obsession with preserving an imaginary core of "English identity" against alien encroachments.
The "alienation" of the English is both physical and psychological. Aliens buy up property and evict innocent English tenants; they ruin English artisans by importing fashionable trifles and using inferior materials in order to undercut the domestic market price; and they pass on their evil, alien ethics and heterodoxy. The English who remain unaffected by the alien find themselves needing to "colonize" their own country as they feel increasingly identified as the strange "other" in an "alienated" society. The English response varies from calls for expulsion of the aliens to petitions for mass English repentance.
Through an investigation of general trends and specific literary and cultural events, this study finds that English community, although self-assured and proud, effectively loses this battle with the alien. By the end of the sixteenth century, despite the efforts of preachers, polemicists, and prophets, who publish and perform at length in an attempt to reform the wayward island nation, the English are "alienated."
By locating a discussion of the emergence of "national identity" in the sixteenth century, this dissertation provides a foundation for, and encourages rehistoricized reading of, the (post-) colonial studies that engage with English identity in the seventeenth century. Before it was possible for the English to think of (re)defining themselves by means of their seventeenth-century "discoveries," they were creating an idea of Englishness in response to the incoming alien; English identity thus becomes an attribute of the colonial travelers that was radically altered--rather than invented anew--in the process of exploration and exploitation.
26
Zoubková, Gabriela. "DRAMATICKÁ VÝCHOVA A ROZVOJ MORÁLNÍHO VĚDOMÍ ŽÁKŮ MLADŠÍHO ŠKOLNÍHO VĚKU." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-379405.
Full textAbstract:
This thesis talks about the pupil's moral development. It is focused primarily on possibilities of the moral development in drama education, eventually in some dramatic activities used during other lessons. The thesis is divided into two parts - theoretical and practical. At the beginning of the theoretical part it acquaints readers with basic information about the moral consciousness and behavior, analysis of the moral judgement of the child and possibilities of its measuring. It also presents drama education as a separated subject its principles and methods and it outlines the possibilities of the drama education in the pupil's moral development. The practical part contains the analysis of the primary school age pupil's moral judgement and comparison outcomes of the pupils who are taught using the methods of drama education and pupils, who have never experienced drama education. The goal of the empirical survey is to find out whether and to what extent the drama education influences the development of moral judgement of the pupils.
27
WANG, YU-FENG, and 王玉鳳. "A Case Study of Learning through Drama Approaches Integrated into Moral Education in Elementary School Performing Arts Class." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/24czcb.
Full textAbstract:
碩士國立臺灣藝術大學
表演藝術教學碩士學位班
107
The purpose of this study is to explore the implementation process and implementation effectiveness of the “learning through drama approach” in Drama in Education applied in elementary school moral education combined with performance arts courses. This study adopted sixth grade students from an elementary school in Taoyuan City. A performing arts course implemented for 12 weeks consisting of 12 lessons was carried out. The case study method was employed. The research and analysis were conducted through teaching journals, teaching reflections, teacher observer records, student learning sheets, interview records, and student learning feedback scales. According to the research results, the following conclusions were drawn: 1. The Drama in Education course combined with the Moral Education course is a specific and feasible plan. 2. Cultivate students’ knowledge of personal everyday morals and the ability to judge right from wrong. 3. Increase student communication and interactive learning experience. 4. Promote students’ interpersonal relationships and teamwork with good mutual understanding. 5. Based on student-centered learning, students are active learners. 6. Cultivate students’ ability to think independently and solve problems. 7. Enhance students’ competency in art creation and appreciation. Keywords: Drama in Education, learning through drama approach, moral education
28
SU, MING-CHANG, and 蘇銘昌. "Action Research of Applying Strategies of Drama in Education to Implement Moral Education── A Perspective of Ethics of Care." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/32w8tx.
Full textAbstract:
碩士國立臺南大學
戲劇創作與應用學系碩士班
106
The purpose of this study is to construct a practical process that started with the perspective of Ethics of Care, and adopted strategies of Drama in Education to carry out moral education. Based on the educational meaning of Ethics of Care, the study examines how students could realize moral meanings by participating in Drama in Education and how they try to put moral education into practice as they present their dramas through playing out and making choices in the fictional dilemma reflected from their own real life situations. The results indicate the teacher’s affection of care is a critical factor in promoting effective conversation, and demonstrate that the purpose of using strategies and conventions of Drama in Education is to build up a wonderful communicative atmosphere. By implementing this pedagogy, moral education helps students to realize that, when they have to make a decision in the situation of ethical dilemma, the same moral behavior might be caused by different beliefs and values. Therefore, a distinct choice might not matter; advancing the ability to care about each other would be more crucial.
29
Chan, Ting-Hua, and 詹亭華. "When a Killer is a Good Man: The Enjoyment of Crime Drama in the Perspective of Moral Ambiguity, Mixed Emotions, and Affective Disposition." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4dd5h3.
Full textAbstract:
碩士國立交通大學
傳播研究所
107
Why do people like crime drama? It’s still an unexplained question in media entertainment research. Although there were many studies of crime drama in the past, most of them studied its effects. A few studies tried to solve the mystery of the enjoyment of crime drama, explaining it by violence, justice, affective disposition and moral judgment, but none of them led to further studies. There are still different opinions on the mechanism behind the sense of enjoyment in the crime drama. In this study, we define the crime drama constructed by three elements: 1) central roles， which include the victim, the offender, and the investigator；2) the development of the story；and 3) the justice. By manipulating the victim's and offender's characteristics and justice We examined their impact on the enjoyment of crime drama. The experiment employed a 2 (Victim Good / Bad) X 2 (Offender Good / Bad) X 2 (punishment / no punishment) mixed factorial design, measure the participants' affective disposition, mixed emotions, and moral judgments, and whether it led to enjoyment and appreciation after viewing. And take the empathy as the covariant. In the experimental measurement, we use two groups of enjoyment questions to measure participants’ affective and cognitive enjoyment. Also, we use physiological measurement instruments were added to record the skin conductance and facial electromyography, and to examine the direct arousal and changes in positive and negative emotions during the experiment. The results show that only affective enjoyment has a significant effect. Whether there is punishment or not, the affective enjoyment of good offenders is higher, partly in accordance with the assumption of mixed emotions, the more ambiguous the moral situation will lead to more mixed emotions and then lead to more enjoyment.
30
Schambergerová, Kateřina. "Handicapovaný hrdina dětské literatury jako námět pro lekce dramatické výchovy." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-364968.
Full textAbstract:
This thesis deals with the problem of handicapped individual in children's literature as a subject for drama education. The diploma thesis has two parts. In the first theoretical part, I dealt with the issue of handicap, the relation of literature and dramatic education with a focus on literature with handicapped hero and assessed the possibilities of using such literature in the process of dramatic education. The practical part was based on action research, which took place in 5 literary and drama lessons, which were created on the basis of a literary masterpiece. During the evaluation, I focused mainly on changing the relationship between handicapped and disabled people based on the experience of dramatic education. In addition, questions have been examined if this topic is not difficult for pupils of primary school and what pitfalls it can bring.
31
Janků, Veronika. "Využití dramatické výchovy v hodinách etické výchovy v počátcích školní docházky." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-354143.
Full textAbstract:
My master thesis deals with the use of drama education methods when teaching the third grade pupils. The aim is to show that combining the drama education and ethics teaching can effectively develop pupils' moral attitude. The thesis is divided into two parts. The theoretical part describes children of middle childhood and defines both kinds of education. The practical part is a proposal of ten drama education lessons with ethics topics created after observing third grade pupils of the primary school of Bratrancu Veverkovych in Pardubice for five months. The proposal is followed by an implementation of the lessons. The lessons focus on developing pupils in following areas: communication, self-evaluation, appreciation of others, respecting rules, creativity, assertive behaviour, and sensitivity towards one's environment. The implemented lessons are then reflected with regard to defined aims. The thesis' conclusion sums up the results obtained from observing the pupils. The results show us that the drama education methods can bring pupils an authentic experience which will significantly influence their values and moral attitude. The thesis results also show that the moral development of primary school pupils depends on the personality of their teacher.ation, appreciation of others, respecting rules,...
32
Šlapánková, Petra. "Hodnotový systém žáka na 1. stupni základní školy." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312931.
Full textAbstract:
Title The value's system of primary school pupils Anotation This thesis deals with the value systems of students first elementary school. Briefly describes the concept of value in terms of various scientific disciplines, and describes the process of its formation, discusses the concept of value system. It deals with the influence of environment in shaping the value system of students and subject matter maps the current state on this issue. Practical part of points through a questionnaire survey on the current state of value orientations of children in connection with the experiment carried out using the lessons drama education. Keywords values, value system, moral behavior, ethical education, values formation, drama in the process of influencing the value orientation
33
Kolentsis, Alysia Michelle. "Shakespeare's Telling Words: Grammar, Linguistic Encounters, and the Risks of Speech." Thesis, 2008. http://hdl.handle.net/1807/16760.
Full textAbstract:
This dissertation analyzes undertheorized grammatical and linguistic details of Shakespeare’s language. Using tools derived from the fields of linguistics, pragmatics, and discourse analysis, I trace the ways that Shakespeare’s speakers represent themselves in language, and how they position themselves relative to their interlocutors. Grounding my study in a selection of Shakespeare’s works in which questions of self-positioning are particularly fraught, I argue that the nuances of grammar that undergird the linguistic performance of Shakespeare’s speakers encode significant clues about interaction and interpersonal relationships. I maintain that the minute details of linguistic encounters, easily overlooked words such as modal verbs (particularly shall and will) and deictic markers (words such as I, this, and now), hold important information about speakers’ perceptions of themselves, their interlocutors, and their environment. Attention to such details, and to charged moments of linguistic encounter in which speakers must negotiate their modes of self-positioning, helps to illuminate the troubled processes of self-representation and changing self-perception.
Chapter one focuses on Shakespeare’s sonnets, and suggests that these poems provide a productive model for the examination of the nuances of speech and interactive dialogue. I anchor my discussion in the particular resonance of the word shall in the sonnets, and explore the ways in which the sonnet speaker attempts to preserve linguistic control relative to a threatening interlocutor. The second chapter extends these concerns to consider how the speakers of Troilus and Cressida respond to a wide network of potentially threatening interlocutors. In this chapter, I focus on linguistic encounters such as arguments and gossip to examine the risks that speakers encounter when they enter the fray of communal discourse. My third chapter turns to Coriolanus to consider moments of aggressive linguistic collisions, in which speakers vie for the right to speak a potent and contested word such as shall. The fourth and final chapter analyzes Richard II through the frame of deictic markers and grammatical modes of self-reference to consider the protective strategies afforded by language in moments of crisis.