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Relevant bibliographies by topics / North American drama

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Academic literature on the topic 'North American drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 June 2025

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Journal articles on the topic "North American drama"

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Sajnani, Nisha, and Anamarija Vuic. "North American drama therapists’ perceptions of climate change." Drama Therapy Review 11, no. 1 (2025): 77–95. https://doi.org/10.1386/dtr_00162_1.

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The consequences of climate change have a significant impact on all aspects of planetary and human life, including mental health, necessitating attention across healthcare provision and training. We may assume that drama therapists agree with prevailing scientific opinion on climate change regarding its detrimental effects on human health and well-being but do not have empirical data to support this claim. The purpose of this study was to identify how North American drama therapists perceive climate change. A secondary aim was to compare these findings to a publicly available national (US) data set. We used the Six Americas Super Short Survey (SASSY!) to gain insight into North American drama therapists’ perceptions of climate change. Seventy-eight respondents (N = 78) met inclusion criteria. Results indicated that respondents fell into four of six possible categories with the proportion of drama therapists categorized as Alarmed (67 per cent) being significantly higher than national findings for the same category (χ² = 12.089, df = 1, p < 0.01) and consistent across racial identification and age groups. While the sample was limited, these findings offer useful indicators for developing climate communication strategies to support drama therapy education in training programs and continuing professional development towards supporting drama therapists and those in their care to adapt to the health impacts of climate change. Further research is needed to support these findings.

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Bank, Rosemarie K. "Indigenous North American Drama: A Multivocal History." Ecumenica 9, no. 1-2 (2016): 60–63. http://dx.doi.org/10.5325/ecumenica.9.1-2.0060.

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Frydman, Jason S., and Angelle Cook. "North American drama therapists’ attitudes toward research." Arts in Psychotherapy 93 (April 2025): 102266. https://doi.org/10.1016/j.aip.2025.102266.

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McMurtry, Leslie. "Sounds Like Murder: Early 1980s Gothic on North American Radio." Gothic Studies 24, no. 2 (2022): 151–66. http://dx.doi.org/10.3366/gothic.2022.0131.

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Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.

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Sand, Stine Agnete, and Thomas Vordal. "‘Northern, not Nordic noir’: A Norwegian case study on crime series and strategies for transnational television." Journal of Scandinavian Cinema 11, no. 2 (2021): 157–76. http://dx.doi.org/10.1386/jsca_00045_1.

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This article discusses transnational television and what strategies public service broadcaster NRK Drama has pursued to make the Norwegian crime series Monster: Brutally Far North travel. Monster was the first Norwegian-language television series bought by a major American cable network, Starz. Using the concept of production values, we argue that NRK has made a series that is able to ride the Nordic noir wave of success while also offering a new northern Norwegian version of the western. These two factors made Monster a good fit for the American market. The series is a result of strategic changes within NRK Drama and a commitment to the private and regional film business. Furthermore, NRK views drama productions as key for reaching audiences and has increased their budgets significantly. The analysis encompasses the industry context, media articles, the ‘North’ as location, the series itself and interviews with important stakeholders.

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Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.

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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.

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Wade, Cameron. "#UsToo: A Musical Comedy about Sexual Assault and Harassment." Drama Therapy Review 6, no. 2 (2020): 129–48. http://dx.doi.org/10.1386/dtr_00024_1.

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#UsToo debuted at the 39th Annual Conference of the North American Drama Therapy Association. It was written and performed by the author as an autoethnographic therapeutic theatre performance investigating her experiences with sexual assault and harassment perpetrated by members of the drama therapy community. This article includes an annotated version of the script with a discussion on form, content, aesthetic choices and embodiment. This article concludes with a synthesis of authorial learnings and outcomes throughout the devising, rehearsal and performance processes.

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Mills, Antonia. "Shamanic Healing and Ritual Drama: Health and Medicine in Native North American Religious Traditions:Shamanic Healing and Ritual Drama: Health and Medicine in Native North American Religious Traditions." Anthropology of Consciousness 5, no. 4 (1994): 24–25. http://dx.doi.org/10.1525/ac.1994.5.4.24.2.

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Reeve, William C. "Büchner's Woyzeck on the English-Canadian Stage." Theatre Research in Canada 8, no. 2 (1987): 169–81. http://dx.doi.org/10.3138/tric.8.2.169.

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This article examines the various English-Canadian productions and adaptations of Georg Büchner's incomplete drama Woyzeck , beginning with George Luscombe's North-American premiere in 1963 and ending with Will H. Rockett's recent version (April 1987). In addition an attempt is made to put these stagings into the broader context of the European theatre.

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Renen, Denys Van. ""Art against art": Sentimentality, Mid-Century Drama, and the North American Crises." Comparative Drama 54, no. 1-2 (2020): 51–72. http://dx.doi.org/10.1353/cdr.2020.0002.

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Dissertations / Theses on the topic "North American drama"

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Sebestyen, John S. "Culture, Crisis, and Community: Christianity in North American Drama at the Turn of the Millennium." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242080581.

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Sivak, Nadine. "Howwe gonna find my me?, postcolonial identities in contemporary North American drama and film." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ53717.pdf.

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Däwes, Birgit. "Native North American theater in a global age sites of identity construction and transdifference." Heidelberg Winter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945427&prov=M&dok_var=1&dok_ext=htm.

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De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.

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A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.<p><p>Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation. <p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

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Ferro, Paola Piovezan. "Figurações dramatúrgicas do indivíduo em \'Suppressed desires\' (1915), de Susan Glaspell e George Cram Cook, e \'Before breakfast\' (1916), de Eugene O\'Neill: um recorte analítico da dramaturgia dos The Provincetown Players." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-19082016-152048/.

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Esta dissertação tem como objetivo analisar a figuração dramatúrgica do indivíduo em duas peças produzidas pelo grupo teatral The Provincetown Players: Suppressed Desires (1915), de Susan Glaspell e George Cram Cook, e Before Breakfast (1916), de Eugene ONeill. Consideramos que o estudo da produção desse grupo norte-americano traz importantes reflexões acerca da representação de questões históricas, políticas e estéticas recentes naquela época , e que vieram a ter desdobramentos em diversas direções no teatro contemporâneo.<br>This work aims at analyzing the dramaturgical figurations of the self in two plays produced by The Provincetown Players: Suppressed Desires (1915), by Susan Glaspell and George Cram Cook, and Before Breakfast (1916), by Eugene O\'Neill. We believe that the study of the production of this American group introduces important reflections on the representation of historical, political and aesthetic factors recent then , which came to have developments in several directions in contemporary theater.

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Lopes, Tatiana de Castro. "Mentira sexual em M. Butterfly de David Henry Hwang." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=465.

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O objetivo desta dissertação é questionar a legitimidade de convicções sexuais e de gênero profundamente arraigadas, através da análise de M. Butterfly de David Henry Hwang e Cat on a Hot Tin Roof de Tennessee Williams. Argüindo a respeito do determinismo biológico imposto e do sistema binário restritivo, eu tento testar o valor e o significado de antigos dualismos construídos, tais como mentira e verdade, masculino e feminino. Nesta tarefa, sou auxiliada pela existência de personagens enriquecedores como Brick Pollitt, Maggie, René Gallimard e Song Liling, cujas subjetividades são centrais para minha dissertação. Enquanto os dois primeiros são cruciais para a discussão sobre a mentira, os outros são fundamentais para exemplificar as possibilidades de sexualidades e expressões de gênero transgressoras<br>The purpose of this thesis is to question the legitimacy of deeply rooted sexual and gender beliefs through the analysis of both David Hwangs M. Butterfly and Tennessee Williamss Cat on a Hot Tin Roof. Being inquisitive regarding the imposed biological determinism and the restrictive binary system, I try to test the value and the meaning of ancient constructed dualisms such as mendacity and truth, masculine and feminine. In this ask, I am supported by the existence of enriching characters like Brick Pollitt, Maggie, Rene Gallimard and Song Liling, whose subjectivities are the core of my thesis. While the two first are crucial for the discussion on mendacity, the others are fundamental to exemplify possibilities of transgressive sexualities and gender expressions.

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Shiller, Romy Sara. "A critical exploration of cross-dressing and drag in gender performance and camp in contemporary North American drama and film." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0007/NQ41312.pdf.

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Schumann, Gabriela Tozzo. "Famílias em ruínas: um estudo sobre a peça A lie of the mind, de Sam Shepard." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-05082015-132524/.

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Esta dissertação tem como objetivo analisar a representação dramatúrgica da família na peça A Lie of the Mind, do dramaturgo estadunidense Sam Shepard, e os recursos por meio dos quais essa representação, tal como realizada, configura elementos de crítica à ideologia dominante relacionada ao papel da família no contexto sócio-histórico do país. Serão levantados, aqui, os aspectos formais da peça, principalmente os que se relacionam com a estética expressionista e com outros expedientes de criação que a distanciam do drama convencional. O objeto do estudo é o texto dramatúrgico original da peça (e não sua encenação). A análise tratará dos aspectos textuais e contextuais da peça e com base neles examinará as relações familiares figuradas em A Lie of the Mind como representativas e intrínsecas à situação social das personagens.<br>This dissertation aims at analysing the dramaturgical representation of family in the play A Lie of the Mind, by the North-American playwright Sam Shepard, and the means through which this representation, as developed in the text, brings forth elements of criticism to the dominant ideology related to the role of the family in the countrys socio-historical context. Formal aspects of the play will be approached, mainly the ones related to Expressionism and to other creative resources that drive it away from conventional drama. The study object is the original text of the play (and not the play in performance). The analysis will deal with textual and contextual aspects of the play and, based on them, will examine the familial relations that are represented in A Lie of the Mind as representative and intrinsic to the social situation of the characters.

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Ilari, Mayumi Denise Senoi. "Teatro político e contestação no mundo globalizado: o Bread & Puppet Theater na sociedade de consumo." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-14052008-134439/.

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Criado na cidade de Nova Iorque no início dos anos sessenta, o Bread & Puppet Theater estabeleceu-se em meio à vanguarda artística norte-americana do século XX, tornando-se célebre nas apresentações e paradas de rua em protesto contra a guerra do Vietnã. Quatro décadas de teatro mais tarde, em plena guerra no Iraque, o grupo dirigido por Peter Schumann, agora radicado em Vermont, prossegue com seu teatro de papel-maché, em protesto contra os impérios vis e injustos do mundo globalizado. Esta pesquisa compara o espetáculo Portões do Inferno, último \"Circo de Ressurreição Doméstica\" (1998), espetáculo anual apresentado a dezenas de milhares de pessoas, a O Mundo de Pernas para o Ar, uma nova versão do Circo - \"Circo de Insurreição do Primeiro Mundo\" (2004), analisando relações entre forma e história. Observaremos que, em nossa atual civilização, fundada na lógica da mercadoria, na comercialização da arte, na espetacularização da vida (no sentido debordiano), e no embrutecido e fragmentário deslumbramento pós-moderno frente aos mesmos paradigmas exaltados como inovações (ou no esmaecimento do afeto, na expressão de Jameson), o teatro histórico, épico e dialético do Bread and Puppet segue resistindo efetivamente, na contramão da sociedade de consumo, na insurreição contra o mundo globalizado, a insurreição \"da mente contra a supremacia do dinheiro e a insurreição de toda a alma do teatro de bonecos contra a estupidez do maravilhamento pós-moderno\".<br>Originated in the city of New York in the 1960s, the Bread & Puppet Theater established itself amidst the North American artistic vanguard of the 20th century. It was especially known for its demonstrations and protests against the Vietnam war. Four decades later, during the Iraq war, the group leaded by Peter Schumann, now established in Vermont, continues with their papier-maché theater, demonstrating and protesting against the evil and unfair empires of the globalized world. This study compares Gates of Hell (1998) - the final \"Domestic Resurrection Circus\"- an annual show presented to thousands of people, to Upside Down World - a new version of the circus called \"First World Insurrection Circus\" (2004) - analyzing the relationships between form and history. The analysis reveals that in our current civilization, which is largely based on the logic of commodities, in the commercialization of art, in the \"spectacularization\" of life (in debordian sense) and in the brutalized and fragmented post-modern wonderfulness, which presents and glorifies the same paradigms as innovations (or in its waning of affect, in Fredric Jameson\'s sense), Bread and Puppet\'s historical, epic and dialectic theater effectively resists, going the opposite direction of consumer society, in the insurrection against globalized world, the insurrection \"of the mind against the supremacy of money and the insurrection of the whole soul of puppetry against the stupidity of post-modern wonderfulness\".

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Leite, André Luiz [UNESP]. "O zoológico existencialista de Edward Albee." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/91594.

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Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-04-26Bitstream added on 2014-06-13T18:26:25Z : No. of bitstreams: 1 leite_al_me_arafcl.pdf: 864986 bytes, checksum: 0067c970ef9b685707a6e900dd9a6ce9 (MD5)<br>A obra de arte dramática, diferentemente de outras formas artístico-literárias, é a que de forma mais prática e imediata estabelece uma relação entre seu realizador e o público ao qual ela é destinada. Contudo, o drama moderno, produzido a partir do final do século XIX, passou por uma série de crises e adaptações quanto à forma e ao conteúdo, decorrentes de várias mudanças ocorridas nos mais diversos setores da sociedade. Edward Albee é um dos maiores dramaturgos norte-americanos da segunda metade do séc. XX. Seguindo uma tradição que produziria grandes talentos como Eugene O'Neill, Tennessee Williams e Arthur Miller, o novo autor surge em 1958 com seu texto, The Zoo Story, associado ao Teatro do Absurdo. A peça de forma minimalista põe em cena dois bancos de praça e duas personagens: Peter que é a própria personificação do self made man, já que está enjaulado aos ideais e aos valores burgueses de vida, e Jerry o outsider ou o transeunte permanente que não se insere nos padrões, no código moral e de valores socialmente estabelecidos. Entretanto, ou por isso mesmo, possui uma capacidade reflexiva extremamente aguçada. O objetivo é tratar de um aspecto da peça - a questão da absurvidade e da liberdade, como formas de transcender a angústia existencial e a vida sem significado em um contexto destituído de símbolos metafísicos. Analisar-se-ão os elementos relacionados a estes tópicos bem como o modo que servem de instrumento para o esvaziamento da ideologia burguesa, que culmina na crítica ácida que Edward Albee desfere ao American way of life.<br>Dramatic art, differently from other literacy-artistic forms, is the one that most practically and immediately establishes a relationship between its producer and the audience it is created for. However, modern drama, produced since the end of nineteenth century, has gone through many crises and adaptations in its form and content, originated from many changes occured in the various instances of society. Edward Albee is one of the major American playwrights of the second half of the twentieth century. Following a tradition which produced gifted authors such as Eugene O'Neill, Tennessee Williams and Arthur Miller, the new author appears with his play The Zoo Story in 1958, associated to the Theater of the Absurd. The play, in a minimalist way, stages two park benches and two characters: Peter, the personification of the self made man, encaged in the bourgeois ideals and values of life; and Jerry, the outsider or the permanent transient who does not fill in the patterns, in the moral code or the established social values. However, or because of this, he has a sharpened reflexive ability. The aim of our search is to treat one aspect of the play - absurdity and freedom - a means of transceding existential anguish and life without meaning in a context deprived of metaphysical symbols. We intend to analyze elements related to these topics, as well as the way they function as instruments for the emptying bourgeois ideology which, ends up the sour criticism Albee aims at the American way of life.

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Books on the topic "North American drama"

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Chicago, University of, ed. Twentieth century North American drama. Alexander Street Press, 2005.

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Mimi, D'Aponte, and Theatre Communications Group, eds. Seventh generation: An anthology of Native American plays. Theatre Communications Group, 1999.

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1945-, Geiogamah Hanay, and Darby Jaye T, eds. Stories of our way: An anthology of American Indian plays. UCLA American Indian Studies Center, 1999.

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Marc, Maufort, and De Wagter Caroline, eds. Signatures of the past: Cultural memory in contemporary Anglophone North American drama. P.I.E. Peter Lang, 2008.

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Miller, Ev. Crying from the earth. Players Press, 1997.

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Loring, Kevin. Where the Blood Mixes. 8th ed. Talonbooks, 2018.

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Loring, Kevin. Where the Blood Mixes. Talonbooks, 2009.

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Hultkrantz, Åke. Shamanic healing and ritual drama: Health and medicine in native North American religious traditions. Crossroad Publishing, 1997.

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Hultkrantz, Åke. Shamanic healing and ritual drama: Health and medicine in native North American religious traditions. Crossroad, 1992.

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Shirley, Huston-Findley, and Howard Rebecca 1957-, eds. Footpaths & bridges: Voices from the Native American Women Playwrights Archive. University of Michigan Press, 2008.

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Book chapters on the topic "North American drama"

1

Meineck, Peter. "Greek Drama in North America." In A Handbook to the Reception of Greek Drama. John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch21.

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Orosa, Miguel A., Francisco Collado-Campaña, and Viviana Galarza-Ligña. "The (Post-)theatre of the Twenty-First Century in Spain and the North American Post-drama TV Series: A Political, Historic and Comparative Research. Playwrights, Patterns and All-Embracing Point of View." In Marketing and Smart Technologies. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4183-8_45.

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Donnery, Eucharia. "12. The Intercultural Journey: Drama-Based Practitioners in JFL in North America, and in JSL and EFL in Japan." In Going Performative in Intercultural Education, edited by John Crutchfield and Manfred Schewe. Multilingual Matters, 2017. http://dx.doi.org/10.21832/9781783098552-014.

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Däwes, Birgit. "Contemporary Native North American Drama." In The Cambridge History of Native American Literature. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108699419.023.

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"Cultural Memory in North American Drama." In "Mouths on Fire with Songs". Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401209540_004.

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Denson, Andrew. "The Drama." In Monuments to Absence. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469630830.003.0006.

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In 1950, the outdoor drama Unto These Hills debuted in Cherokee, North Carolina. The play, which became one of the most popular tourism attractions in southern Appalachia, depicted Cherokee history from the time of European contact through the mid-nineteenth century, paying particular attention to the Cherokee struggle against removal. This chapter examines Unto These Hills as an example of Cold War American culture, while placing the drama in the context of the termination policy, the federal government's campaign to remove the trust status of Indian lands and withdraw special federal services to Native American communities. While the memory of removal broadcast in Unto These Hills echoed some of the language of the termination campaign, it ultimately helped the Eastern Band of Cherokee Indians avoid termination.

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Irwin, Patricia. "SO [totally] Speaker-oriented An Analysis of “Drama SO”." In Micro-Syntactic Variation in North American English. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199367221.003.0002.

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Smith, Christopher J. "Blackface Transformations I." In Dancing Revolution. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042393.003.0007.

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This chapter investigates movement vocabularies associated with early-twentieth-century North American African American dance, particularly as specific performers adapted these exceptionally influential vocabularies in order to employ them for expressive and political purposes beyond the street: in the vaudeville theater, the Hollywood soundstage, and the mixed-race nightclub. This chapter suggests that these performers--Bill Robinson, Josephine Baker, and the Marx Brothers--possessed a sophisticated understanding of the transgressive power of African American street dance and deployed those movement vocabularies with intentional political effect in new, mass-market media. Methodology is drawn especially from film and drama theory, kinesics, and iconography.

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Gutacker, Paul J. "Fighting for the Past." In The Old Faith in a New Nation. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197639146.003.0008.

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Abstract Chapter 7 continues the pre–Civil War historical drama begun in chapter 6. As the sectional crisis heated up, Christianity’s historic relationship to slaveholding became all the more controversial. Dozens of proslavery authors, including Catholics, Episcopalians, Presbyterians, Methodists, and Baptists, employed tradition to defend the compatibility of Christianity and slavery, and by the 1850s Christian history was prominent in proslavery arguments put forward by legal scholars and social theorists. Conversely, both white and Black antislavery authors from a variety of denominations used religious history to bolster their cases against slavery. After the South seceded and the Civil War began, the meaning of the Christian past continued to matter for both North and South. For Confederates, church history proved useful in constructing white Christian nationalism, while, in the North, controversy and outrage followed a proslavery account of Christian history written by Episcopal bishop John Henry Hopkins. This chapter shows that the historical dimensions of the argument made it less likely to be resolved on theological grounds. American Protestants did not fail to avoid a bloody Civil War because they ignored history or tradition, but because their readings of the Christian past made them all more intransigent.

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Stutz, Liv Nilsson. "To Gaze Upon the Dead: The Exhibition of Human Remains as Cultural Practice and Political Process in Scandinavia and the USA." In Archaeologists and the Dead. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198753537.003.0021.

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The clattering sound of a child’s shoes across the cold stone floors; the echo is magnificent. I am nine or ten years old and I make my way through the prehistoric exhibition at the National Museum in Copenhagen. The dimly lit display cases are filled with arrowheads, heavy beads of perforated amber, funnel beakers, and bronze artefacts. I reach my goal, the alluring Bronze Age oak cists where the buried men and women from the heaths of Jutland are looking back at me. I touch the glass. My eyes wander over their reddened hair and their clothes, stained in deep shades of peat brown. My eyes seek theirs in the hollow orbits of their skulls. I close mine and imagine a life thousands of years ago. My small hand moves across the glass, leaving an almost invisible trace. Small fingerprints; a dreaming child’s gesture. I would stay there forever, dreaming of the past. Feeling it. I know that it was moments like this, when I could see and feel the humanity of the past that made me want to become an archaeologist. The immediate encounter with an individual from the past is a privileged moment. For a brief moment our destinies cross paths, and hundreds, even thousands of years are transcended. Scenes like this one, of children gazing at the dead and seeing the past, are not unusual. In museums across Europe, the archaeological findings from burials, including both the human remains and the items that accompanied the dead, are often displayed with pride and confidence. The public expects this and is drawn in with fascination to stand face-to-face with the deep past. Beyond this, the display of the dead and of death itself, with all of the allure and drama that accompany it, becomes a privileged locus for pedagogy and communication. But while this confident attitude towards the display of the dead may be typical in Europe, it is not as evident in North America. In North American museums, it is rare to see human remains from archaeological contexts displayed in any form (exception seems to be given to Egyptian mummies, which still are prominently displayed by many institutions that have them among their collections).

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Conference papers on the topic "North American drama"

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DOSPINESCU, Liviu. "Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.

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This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the former half of the 20th century. It includes the most diverse disciplinary aspects, which are no longer just those of the drama, dance and choreography, performance or music, because the disciplinary practices of the other field and also practices from more remote fields like the visual arts, the cinema or those of the languages of new technologies connected, for instance, with the complex projections on the stage or its augmentation through Virtual Reality etc. can be added to it any time. Thus, we can notice how, in an intermedial process, in the meeting of drama and film, drama, as an art of the unmediated and of the living presence, tends to leave a mark (i.e. of the living) on the spectre of the delayed presence of the film in an inter- or even transdiciplinary relation. Therefore, the paper explores phenomena around the meeting of distinct entities under the interdisciplinary and intercultural aspects that mark the strong current interest in alterity and hybridity in the stage act but also in the new modes of perception in which the spectator is invited to engage or in the new interpretation grids demanded of the researcher. I will enrich this perspective by offering a few present-day reserach and creation trends in the living arts in the academia. They are extracted from my experience of both research-creation and doctoral project coordination. I share this experience in order to reveal a distinctiveness of research and creation at University of Laval, Québec and, at a larger scale, a trend or maybe even a model for the North American space. Apart from its descriptive aspects, my paper aims at raising new questions, inspire new possibilities and reinforcing new contributions in the research and creation of living arts.

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Lufkin, J. "Shakespeare gets a computer: a tutorial drama in two acts." In International Conference on Professional Communication,Communication Across the Sea: North American and European Practices. IEEE, 1990. http://dx.doi.org/10.1109/ipcc.1990.111182.

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Volokhin, Sergey, Joyce Ho, Oleg Rokhlenko, and Eugene Agichtein. "You Sound Like Someone Who Watches Drama Movies: Towards Predicting Movie Preferences from Conversational Interactions." In Proceedings of the 2021 Conference of the North American Chapter of the Association for Computational Linguistics: Human Language Technologies. Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.naacl-main.246.

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