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Journal articles on the topic 'Spiritual drama'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Liu, Yijun. "Spread Of Artistic Spirit Of Chinese Historical Drama Songs." Tobacco Regulatory Science 7, no. 5 (2021): 3652–63. http://dx.doi.org/10.18001/trs.7.5.1.142.

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As an important symbol of an excellent TV series, Chinese historical dramas’ songs have become the spiritual symbols left to the broad audience. They have the theme and spiritual value of spreading the story, connecting the link between the past and the following, showing the infinite empathy and yearning of women, symbolizing the identity and symbolic the identity and symbolic meaning of the characters, borrowing historical allusions and drama adaptation, preserving the artistic spirit of and beautiful style. These songs play an essential role in spreading the story plot, characters, cultural

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2

Azarova, Valentina Vladimirovna. "French mystery drama in the mirror of the twentieth century." Культура и искусство, no. 3 (March 2022): 54–72. http://dx.doi.org/10.7256/2454-0625.2022.3.37697.

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The article considers the reflection of the basic laws of the mystery of the XIV–XVI centuries in the musical and theatrical works of the French "synthetic theater" of the twentieth century. These are "The Martyrdom of Saint Sebastian" by G. d'Annunzio — C. Debussy (1911) and "The Good News of Mary" by P. Claudel (1912-1948). The purpose of the work is to establish the peculiarities of the operation of the principles of semantics and composition of the genre, revived at the end of the XIX century and further developed in the French musical theater. In interdisciplinary, hermeneutical and art c

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3

Oey Amellya Agustina and Iskak Sugiyarto. "Dampak Menonton Drama Korea Terhadap Kerohanian Wanita Kristen." Jurnal Budi Pekerti Agama Kristen dan Katolik 2, no. 4 (2024): 167–73. https://doi.org/10.61132/jbpakk.v2i4.759.

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The spiritual aspect of believers will be influenced by what they see. Those who watch various available shows, especially Korean dramas, are often not selective and gradually become more engrossed and immersed in various Korean drama shows. The purpose of this study is to provide an overview or concept for Christian women in the age range of 50 to 65 years regarding the impacts of watching Korean dramas on their spiritual lives and to see the Bible's perspective on this issue. This study uses a descriptive qualitative method with a hermeneutic approach to see the relevance of the interpretati

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4

Moros, Larysa. "Panteleimon Kulish’s Dramaturgy: Historical and Spiritual-Philosophical Features." Слово і Час, no. 10 (October 16, 2019): 44–51. http://dx.doi.org/10.33608/0236-1477.2019.10.44-51.

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The paper explores the ground of the ideas, plots, and schemes of conflicts in ideological dramas by P. Kulish. The two of them are conditionally symbolic while the other three are based on real historical material. The libretto of the musical performance “A Woman from the Farmstead, or Singing Praise to the Bride in front of the Wedding Guests” and multifaceted drama “Herod’s Trouble” show combination of biblical, i. e. international, elements, while the latter also contains traditional folklore features of the Ukrainian Nativity Play. The other group of works makes up the trilogy, although P

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Guo, Ziyan. "On the Application of Regional Features in Contemporary Dance Drama." Journal of Education and Educational Research 4, no. 1 (2023): 62–64. http://dx.doi.org/10.54097/jeer.v4i1.10034.

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Regional characteristics are widely used in Chinese contemporary dance dramas. Different regional cultures create different regional characteristics. Integrating regional characteristics into Chinese contemporary dance dramas can make Chinese regional characteristics shine. This article analyzes the regional characteristics of the dance drama "Shawan Past" and explores the spiritual connotations expressed by the application of regional characteristics in contemporary dance dramas. The dance drama "The Past of Shawan" is a rare masterpiece in contemporary dance drama creation. Through stories,

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Hajjah, Rika Rofi'atul, Setya Yuwana, and Ririe Rengganis. "NILAI SPIRITUAL PADA TOKOH DALAM KUMPULAN KARYA YUSRIL IHZA (PERSPEKTIF SPIRITUAL QUOTIENT)." Bahtera Indonesia; Jurnal Penelitian Bahasa dan Sastra Indonesia 8, no. 2 (2023): 598–608. http://dx.doi.org/10.31943/bi.v8i2.457.

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Tujuan penelitian ini adalah untuk menemukan unsur spiritual quotient dalam tiga karya sastra Yusril Ihza yaitu naskah drama Menunggu Badai Reda, naskah drama Lahirnya Kematian, dan antologi puisi “Syair Pendekar Kelana”. Pendekatan yang digunakan dalam penelitian ini adalah deskriptif kualitatif dengan teknik pengumpulan data studi pustaka serta teknik analisis Miles dan Huberman melalui reduksi, penyajian, dan penyimpulan. Hasil penelitian ini menunjukkan bahwa ditemukan 9 jenis spiritual quotient dalam tiga karya objek penelitian yaitu 1) sikap fleksibel, 2) tingginya kesadaran diri, 3) kem

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7

Liu, Juan. "The Rebellion Origins and Spiritual Symbols of American Experimental Drama." Yixin Publisher 2, no. 2 (2024): 17–23. http://dx.doi.org/10.59825/jhss.2024.2.2.17.

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In the 1950s and 1960s, American theater gradually diversified. Following the impact of the Absurdist theater on American realism and expressionism, American theater also moved from modern theater to exploration of postmodern theater. The experimental theater on Broadway and Broadway posed a challenge to traditional American theater. Experimental drama begins to weaken the story and script in terms of content, and instead invests a large amount of artistic creativity in formal expression. By weakening the script, it emphasizes the relationship between observation and performance, sensory perce

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Isomiddinov, Yuldash Yusubboevich. "THE SOCIAL PHILOSOPHICAL ESSENCE OF ABDURAUF FITRAT`S SPIRITUAL HERITAGE." Philisophy and life 1, SI 2 (2022): 2. https://doi.org/10.5281/zenodo.7325534.

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This article is about the spiritual heritage of Abdurauf Fitrat reflected in the social philosophical essence. Abdurauf Fitrat is recognized as a scholar who made a unique contribution to Uzbek linguistics. In the works of Fitrat, the themes of national freedom, the joy of independence and liberty are put forward. Fitrat also made a significant contribution to the development of Uzbek drama with his dramas. Fitrat is also recognized as a scholar who laid the foundation stone of the new science of Uzbek literature and made a unique contribution to Uzbek linguistics.

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9

Kang, Hongzhe, Megat Al Imran Yasin, Mohd Nizam Osman, Lay Hoon Ang, and Mengyu Li. "Exploring the Export Strategy of Chinese Film and TV Drama in Value Chain and Digital Technology." E3S Web of Conferences 251 (2021): 03073. http://dx.doi.org/10.1051/e3sconf/202125103073.

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The spiritual and cultural needs of residents have been a growing trend with the living standards improving in China. As an essential medium to reflect the social status, film and TV drama need to satisfy the spiritual and cultural needs of residents as well as spread positive energy to society. The Silk Road International Film Festival was founded in 2014 under the Belt and Road Initiative, which created more opportunities for the export of Chinese film and TV drama. Although the value chain and digital technology can support the export of Chinese film and TV drama, some problems still exist.

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10

Berman, Joshua. "The Drama of Spiritual Rehabilitation in Lamentations 1." Journal of Biblical Literature 140, no. 3 (2021): 557–78. http://dx.doi.org/10.1353/jbl.2021.0026.

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Berman. "The Drama of Spiritual Rehabilitation in Lamentations 1." Journal of Biblical Literature 140, no. 3 (2021): 557. http://dx.doi.org/10.15699/jbl.1403.2021.6.

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Cheung, Frederick Hok Ming. "St. Mary’s Canossian College, Drama, and Spiritual Education." Jiuzhou Xuelin 2013, no. 31 (2013): 138–62. http://dx.doi.org/10.5404/jiuzhou.2013.31.06.

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13

Bauman, Philip J. "The Inherent Spiritual and Theological Drama of Therapy." Journal of Spirituality in Mental Health 11, no. 1-2 (2009): 13–25. http://dx.doi.org/10.1080/19349630902864283.

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14

Chen, Sitong. "A Probe into the Form of Dance Performance in Drama Performance." Highlights in Art and Design 4, no. 1 (2023): 97–99. http://dx.doi.org/10.54097/hiaad.v4i1.11992.

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China's traditional culture, as the spirit that has lasted for thousands of years, has shown brand-new vitality internationally in recent years. As the quintessence of China, drama condenses the cultural and spiritual traditions of the Chinese nation for thousands of years, and comprehensively embodies the aesthetic feeling of China's art. Dancing on the stage of drama can not only contribute to the visual experience of drama, but also further reflect the culture of drama works.

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Syawaluddin, Fauzan Akbar, Edi Komarudin, and Mawardi Mawardi. "Social Aspects in the Drama Bait Al Asybach (Ian Watt's Sociological Study of Literature)." Riwayat: Educational Journal of History and Humanities 8, no. 1 (2025): 144–50. https://doi.org/10.24815/jr.v8i1.43381.

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The objective of this study is to reveal the social critique embedded in the drama Bait Al Asybach, focusing on the shifts in moral and spiritual values within society. This drama portrays how cemeteries, which should be sacred and peaceful places, have been neglected by humans who prioritize personal and materialistic interests. The study aims to analyze this phenomenon through a sociological literary approach, specifically Ian Watt's theory. The research employs a qualitative approach utilizing sociological literary theory to analyze the social aspects reflected in the drama Bait Al Asybach.

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Korniy, Lidiya. "Ukrainian School Christmas Drama of the XVIIth–XVIIIth Centuries and Puppet Nativity Play Theatre: Problem of Adaptation and Interpretation of a Musical Factor." Folk art and ethnology, no. 2 (July 30, 2021): 5–14. http://dx.doi.org/10.15407/nte2021.02.005.

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The article states that the Ukrainian baroque art has become differentiated into the high, middle and lower stylistic levels. There were certain connections between them, and new art genres appeared on the verges of these levels. The problem of the connection between distinct stylistic levels of the Ukrainian musical baroque has not yet attracted the attention of researchers. The study examines the links between the Ukrainian school Christmas drama of the XVIIth– XVIIIth centuries and the puppet Nativity play theatre. It is noted that for the first time a comparison of these two kinds of theat

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Ansari, Zarafshan, and Parshant Singh. "Audience Experience to Series Ertugral and Fulfillment of Social and Psychological Needs Gratification." Journalism, Politics and Society 1, no. 2 (2023): 128–40. http://dx.doi.org/10.63067/xjp2x356.

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The study focuses on Audiences’ Exposure to Series Ertuğrul and fulfillment of social and psychological Needs Gratification; moreover, the article thesis calls attention to the age group and gender of youth which is comparatively more fulfilling their social and psychological needs. The age has been grouped under 20 years of age and above. The study explores the needs fulfilled by audience by watching the drama. Frequency of the most Popular Turkish dramas viewership has also been found. Quantitative Survey research method has been used in which total of 251 Responses are collected from Nation

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18

Vukojevic, Zrinka, and Natasa Rogulja. "Integrating ICT with Drama Activities." European Journal of Teaching and Education 7, no. 2 (2025): 87–99. https://doi.org/10.33422/ejte.v7i2.1495.

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As a teaching tool, drama contributes to the development of understanding the physical, emotional, intellectual, aesthetic, social, moral, and spiritual dimensions of human experience. Apart from developing communication skills, drama encourages confidence, self-esteem, cooperation, empathy, responsibility, problem-solving management, creativity, and imagination. The implementation of ICT should be used in a complementary way and not as a substitute for dramatic activities to create an empowering and enriching educational environment. The use of ICT implies the development and presentation of

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19

Wei, Guobin, and Li Wang. "Research on Visualization Presentation Design of Dayu Culture Drama." Frontiers in Humanities and Social Sciences 2, no. 9 (2022): 56–63. http://dx.doi.org/10.54691/fhss.v2i9.2105.

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The cultural resources of Dayu are the product of the continuous accumulation and inheritance of Dayu's footprints on the land of China along with history. It is of great spiritual significance and time value to summarize the characteristics of Dayu spirit and creatively transform its cultural resources. The problems in Dayu's drama at this stage mainly include the fixation of character modeling design, the design of lighting and stage beauty, and the design of stage scenes. The reasons for these problems in Dayu's drama are the lack of drama creative and performing talents with artistic visua

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20

Sun, Hao. "Research on Risk Management and Control of Chinese Film and Television Drama Production—The Case of ‘Ruyi’s Royal Love in the Palace’." Highlights in Business, Economics and Management 28 (April 9, 2024): 19–26. http://dx.doi.org/10.54097/6g7me975.

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With the gradual enrichment of material life, people’s spiritual needs are becoming increasingly large, stimulating the development of TV dramas. The Chinese Intellectual Property (IP) film and television industry has recently been enlarging. However, some risks are hiding in this new hit. This thesis analyzes the case of ‘Ruyi’s Royal Love in the Palace’, a famous and typical palace fighting drama that invested a lot of money and eventually became mediocre. This study lists the main risks and corresponding reasons for this failure and separates them into script, finance, policy, and marketing

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21

Sharoni, Danna, and Shoshi Keisari. "Drama-based therapies for spiritual well-being: Three cases in an oncological palliative care setting." Drama Therapy Review 9, no. 2 (2023): 259–72. http://dx.doi.org/10.1386/dtr_00132_1.

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Over the last ten years, a growing body of literature has centred on the contributions of arts therapies to patients in palliative care. However, there is scant literature on the role of psychodrama and drama therapy in palliative care. This article presents three cases illustrating psychodrama and drama therapy techniques with oncological palliative patients. The three cases suggest how somatic experiences, dramatic projection, role reversal and imagination-based techniques can enable a restorative process to emerge in which the patients may reconnect to the personal, communal and environment

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22

Gareeva, Gulfira Nigamatovna, Ramziya Davletkulovna Mustafina, Ilshat Kamilevich Yanbaev, Valiya Vinilevna Yakshimbetova, Zakiya Galimyanovna Murzagulova, and Fanilya Razhapovna Salavatova. "The theme of modernity in the Bashkir dramaturgy of the 1930s." SHS Web of Conferences 164 (2023): 00113. http://dx.doi.org/10.1051/shsconf/202316400113.

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The present study is an attempt to reveal features of the Bashkir dramaturgy of the 1930s when Bashkir literature was seeking to solve the problem of a new hero. The comprehensive analysis of the Bashkir dramas was carried out. In analyzing the principles of reflecting reality, researching genre and style features, determining the range of topics and problems, the nature of the conflict of dramatic works of these years, the study revealed a trend of gradual transition of Bashkir drama from diverse musical and ethnographic plays on the historical past to a realistic depiction of modernity, the

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23

Lu, Mingze. "The Core Secrets of Crafting the "Dramatic Poetic Realm" in The Romance of the Western Chamber." Academic Journal of Sociology and Management 2, no. 6 (2024): 44–49. https://doi.org/10.5281/zenodo.14197079.

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This article takes The Romance of the Western Chamber as the research object, and makes a specific analysis on how to construct its dramatic poetic environment. The methods of creating drama are embodied in two aspects: "the ups and downs and the differences are interesting", "the potential energy is full of drama flavor", and the methods of creating poetry are embodied in the two aspects of "the combination of poetry and painting" and "the fullness of image adds spiritual rhyme", which form a dramatic poetic environment. At the end of the article, combining with many problems existing in the

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Qi, Mengrui. "role and status of drama in spiritual and material culture." Linguistics and Culture Review 5, S2 (2021): 487–500. http://dx.doi.org/10.21744/lingcure.v5ns2.1385.

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The relevance of the work is determined by the fact that the full development of society is possible only on the condition that dramatic changes occur in it. The basis for changes in any society is both culture and the motives that flow into culture in order to realise the factors of social formation as much as possible. We believe that culture and its development are possible if there are phenomena in society when an individual rethinks each aspect of his being. Consequently, the role of drama not only as an artistic device in literature, but also as a social phenomenon, has its own direction

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Vanhoozer, Kevin J. "Putting on Christ: Spiritual Formation and the Drama of Discipleship." Journal of Spiritual Formation and Soul Care 8, no. 2 (2015): 147–71. http://dx.doi.org/10.1177/193979091500800203.

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Yust, Karen-Marie. "Drama, intimacy, and vulnerability: the spiritual challenges of digital culture." International Journal of Children's Spirituality 22, no. 2 (2017): 110–19. http://dx.doi.org/10.1080/1364436x.2017.1287682.

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Perelshtein, Roman. "Metaphysics of cinema art." Herald of Culturology, no. 1 (2021): 57–79. http://dx.doi.org/10.31249/hoc/2021.01.03.

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The author of the article explores cinema art as a kind of worldview model, based on the tragic myth of Aristotle. The well-known doctrine of tragedy is the part of the doctrine of tragic myth. Both tragedy and drama strive for catharsis, that is, to purify and heal the soul. The discussion of drama as a spiritual teaching becomes extremely relevant in this regard. The hero of the drama (wider than a movie with a dramatic plot) goes on a journey to meet his eternal "I", and, therefore, to become himself. The hero may fail, but there is no other purpose for the journey or initiation.

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Protsiv, Lilija. "History of the Ukrainian Music Pedagogy: Viennese Meetings." Musical art in the educological discourse, no. 4 (2019): 59–65. http://dx.doi.org/10.28925/2518-766x.2019.4.8.

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The article substantiates the features of the history of musical pedagogy as meta-history, the content of which is immutable values, spiritual constants of mankind, as well as such phenomena as coincidence, meetings in time and space, their sign and symbolic interpretation. Along with people, cities are important participants in the complex drama of the Ukrainian history. They are spiritual and cultural centers important for the development of national culture and education. Many of them received symbolic names, for instance, Second Jerusalem (Kyiv), Chernihiv Athens, Galician Piedmont (Lviv,

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Jian, GAO. "A Concerto Resonance Between the Chinese Zhuang Customs and the Topic of Poverty Alleviation: Exploring the Artistic Value and Spiritual Connotation of Zhuang Drama Huang Wenxiu." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 4 (2022): 165–72. http://dx.doi.org/10.53789/j.1653-0465.2022.0204.021.p.

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Huang Wenxiu is a Zhuang drama based on the poverty alleviation work of Huang Wenxiu, who is an outstanding selected graduate from Guangxi and also the first secretary of Baini village. The drama has not only humorous and emotional stage effects, strong romantic sentiment, and realistic critical spirit, but also typical characteristics of the era, vivid artistic images and a strong ethnic style. This drama embodies unique aesthetic values, vividly interpreting the values of the era and the spirit of Guangxi, highlighting the artistic consciousness and practical innovation of Zhuang drama art t

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Qiyun, Ye, and Andika Aziz Hussin. "SEMIOTICS AND EMOTIONAL EXPRESSION OF GAN NUO MASKS IN DRAMA PERFORMANCES: A STUDY OF CULTURAL INHERITANCE PATHS IN CROSS-ART FORM EDUCATION." ArtsEduca 43, no. 43 (2025): 15–28. https://doi.org/10.5281/zenodo.15548264.

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<strong>Background:</strong> This study examines the semiotic and emotional expression of Gan Nuo masks in traditional Chinese drama performances, focusing on their role in conveying cultural narratives and emotions. Originating from ancient religious rituals, these masks are rich in symbolic elements such as color, facial expressions, and ornamentation. <strong>Methods:</strong> Using a qualitative semiotic approach, the study analyzes secondary data to decode the visual elements of the masks. <strong>Results:</strong> In traditional Chinese drama, color serves as a symbolic tool to express e

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Halimah, Siti Layinatul, and Atiqa Sabardila. "ASPEK PEMBELAJARAN DARI KESENIAN BARONGAN BAGI MASYARAKAT DESA BEJIREJO." Jurnal Budaya Nusantara 6, no. 1 (2023): 181–94. http://dx.doi.org/10.36456/jbn.vol6.no1.6679.

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This article has the following objectives: (1) to know the values contained in barongan art, (2). Analyzing the performance structure in barongan art, (3). Describe the function of barongan in traditional traditions. This study uses the method of observation, interviews, and document study. Observations were made openly at the house of the head of the barongan art group Harjuno Mudo. The research results are (1). Various aspects that can be used as daily learning are spiritual values, moral values, and social values, (2). The structure of the Barongan performance often changes in each perfor

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Halimah, Siti Layinatul, and Atiqa Sabardila. "ASPEK PEMBELAJARAN DARI KESENIAN BARONGAN BAGI MASYARAKAT DESA BEJIREJO." Jurnal Budaya Nusantara 6, no. 1 (2023): 181–94. http://dx.doi.org/10.36456/b.nusantara.vol6.no1.a6679.

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This article has the following objectives: (1) to know the values contained in barongan art, (2). Analyzing the performance structure in barongan art, (3). Describe the function of barongan in traditional traditions. This study uses the method of observation, interviews, and document study. Observations were made openly at the house of the head of the barongan art group Harjuno Mudo. The research results are (1). Various aspects that can be used as daily learning are spiritual values, moral values, and social values, (2). The structure of the Barongan performance often changes in each perfor

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Koroliova, Elfrida. "The Identity of the Performances of the 1960s Directed by Valeriu Cupcea." Arta 30, no. 2 (2021): 59–63. http://dx.doi.org/10.52603/arta.2021.30-2.08.

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The fruitful activity of Valeriu Cupcea in the 1960s was manifested in the identity of his plays. In the comedy Take, Yanke, and Kadar by I. Popa, this is a union of people overcoming national and religious prejudices. In the socio-psychological drama from the life of a collective farm village The Wheel of Time by A. Lupan, this is the drama of the era, manifested in life situations, in dramatic collisions of the characters in the play. In the philosophical drama about the life and death of A. Levada’s Faust and Death, this is a clash of human destinies, in the struggle of worldviews. The play

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Stampino, Maria Galli. "Staging the Soul: Allegorical Drama as Spiritual Practice in Baroque Italy." Italica 100, no. 4 (2023): 617–19. http://dx.doi.org/10.5406/23256672.100.4.15.

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Mao, Han, Jingru Liu, and Zihan Qu. "Chinese Traditional Aesthetics in Qing Palace Drama*-Take “Story of Yanxi Palace” as an example." E3S Web of Conferences 236 (2021): 05082. http://dx.doi.org/10.1051/e3sconf/202123605082.

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Among the TV series that emerged in the summer of 2018, Yu Zheng’s “Story of Yanxi Palace” was the most popular, and it continued to surpass “Ruyi’s Royal Love in the Palace” (a court drama of the same type), with a wide range of influence and a high degree of discussion. This article attempts to explore the spiritual beauty of the plot, the exquisite beauty of costumes and the quaint beauty of the pictures through analyzing the plot, costumes, props, shots and other visual content of the drama from an aesthetic perspective.

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Dr. Kunvar Shekhar Gupta. "Theatre in Bharat and Greece: A Comparative Study." Voice of Creative Research 6, no. 4 (2024): 49–57. https://doi.org/10.53032/tvcr/2024.v6n4.07.

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This study compares the theatrical traditions of ancient Bharat and Greece, highlighting their lasting influence on global drama. Bharat’s theatre, rooted in the Nāṭyaśāstra, emphasized spiritual and moral enlightenment through rasa, epic narratives, and cosmic harmony. Greek theatre, emerging from Dionysian festivals, focused on human suffering, ethical dilemmas, and catharsis, shaped by playwrights like Sophocles and theorists like Aristotle. While Bharat’s theatre promoted dharma and moksha, Greek drama encouraged civic reflection and philosophical inquiry. Despite differing foundations, bo

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Taylor, Mark Lewis. "Earth Politics of the Spiritual Ground." CLR James Journal 27, no. 1 (2021): 39–66. http://dx.doi.org/10.5840/clrjames2021112986.

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Amid the coloniality of power, earth politics is a political spirituality. It fosters decolonizing practices that create what Colombian anthropologist Albán Achinte terms “re-existence”—a “redefining and re-signifying of life in conditions of dignity.” Earth politics’ spirituality can be read across the writings of Gloria Anzaldúa, Drucilla Cornell/Stephen Seely, and Paget Henry. Earth politics, in Henry’s words, is a “drama of consciousness” with a “spiritual ground,” a consciousness that is both “vertical” and “horizontal”—better, a spherical and ambient consciousness “grounding” an earthy a

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Brennan, Toni. "Towards Higher Worlds: Rudolf Steiner, Abraham Maslow and Transpersonal Psychology." Transpersonal Psychology Review 11, no. 1 (2007): 120–25. http://dx.doi.org/10.53841/bpstran.2007.11.1.120.

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This paper explores the work of the Austrian philosopher Rudolf Steiner (1861–1925), founder of Anthroposophy (a human-centred path of spiritual knowledge), and its relevance to Transpersonal Psychology.Steiner’s holistic Weltanschauung is based on the insight that the cosmos lives, in nuce, in the individual, and that the individual has the potential to discover the spiritual dimension of life. This unifying principle – which animates the plurality of ‘practical’ applications of Steiner’s philosophy in the material world, such as in education, art and drama, architecture, medicine and agricul

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Power, Cormac. "Struck by the Arrow of Beauty: Saturated Phenomena and the (Theo)Drama of Subjectivity." Ecumenica 17, no. 2 (2024): 139–61. http://dx.doi.org/10.5325/ecumenica.17.2.0139.

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ABSTRACT This article is concerned with theological aesthetics and aims to show how aesthetic modes of experience create a context in which a subject can understand their existence in terms of (Christian) spiritual drama. It considers the ideas of twentieth-century Catholic theologian Hans Urs von Balthasar and of contemporary phenomenologist Jean-Luc Marion in order to show how aesthetic experience acts as a gateway through which the experiencing subject enters into a new, dramatically constituted spiritual space. Finally, this article illustrates this conception of a dramatized spiritual lif

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Nurgali, Kadisha, Aman Zhumsakbayev, Gaini Zhambabayeva, Aiman Zeinulina, and Gauhar Tileuberdi. "Philosophical ideas in drama on the example of women's drama." XLinguae 16, no. 3 (2023): 48–56. http://dx.doi.org/10.18355/xl.2023.16.03.05.

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In this article, specific methodological approaches to analyzing drama from a philosophical point of view are formulated. Our research’s principal conceptual basis consists of considering the personalities of the drama characters animated in the text (and especially in the stage action) as primary attractors for readers-viewers (recipients). Drama consideration (in addition to philological, psychological, semiotic, and other aspects) is proposed as a metaphor that leads to a holistic intellectual and spiritual understanding of its social and philosophical meanings in the unity of the personal-

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Pizzato, Mark. "Staging Consciousness: Theater and the Materialization of Mind. By William W. Demastes. Ann Arbor: University of Michigan Press, 2002; pp. 193. $47.50 cloth." Theatre Survey 45, no. 2 (2004): 294–96. http://dx.doi.org/10.1017/s0040557404280267.

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William W. Demastes's new book is a rare find. It shows a new direction for interdisciplinary theatre scholarship, combining drama and performance with cognitive science, fuzzy logic, and complexity theory. With this challenging combination, Demastes extends the significance of theatre beyond its conventional place in the humanities and proposes specific ties between an ancient art form and recent scientific discoveries. He demonstrates a post-postmodern or “neostructuralist” approach that dares to discuss “the emergent essence of life itself,” through a materialist, yet “nonpositivist” scienc

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Clifton, Nicole. "The Costs of Funerals in Malory's: Morte Darthur." Arthuriana 33, no. 2 (2023): 104–22. http://dx.doi.org/10.1353/art.2023.a903760.

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Abstract: Using historical sources to provide context for funerary expenses, this article argues that whereas funerals early in Malory's Morte Darthur advertize the wealth and power of those who fund the burials, post-Grail Quest funerals emphasize spiritual growth, especially Lancelot's. Malory's changes to his sources increase drama and develop themes.

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Enache, Lorette. "Part II. Drama / Choreography5. Theater Dance Atelier." Review of Artistic Education 13, no. 1 (2017): 125–29. http://dx.doi.org/10.1515/rae-2017-0016.

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Abstract The substance of the spiritual and cultural life is the syncretism of the arts from the performer-spectator division, that was made concurrently with the “dance” segmentation into work and pleasure. Words were held in formulas, gestures and dance in rhythm. Today, dance is mostly seen as the art of gesture. However, it is remarkable to reflect at to what extent the dance, as an organic necessity, it could further develop into hermetic structures that would still require analyses and studies from researchers in the field. In today‟s theatrical landscape, this formula of artistic expres

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Hidayah, Titik Musfiyatul. "Al-ʽAnāṣir al-Dākhiliyyah fī Masraḥiyyah Aglā min al-Ḥub li ʽAlī Aḥmad Bākaṡir". JILSA (Jurnal Ilmu Linguistik dan Sastra Arab) 4, № 1 (2022): 92–110. http://dx.doi.org/10.15642/jilsa.2020.4.1.92-110.

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Penelitian ini berjudul “Unsur-Unsur Intrinsik dalam Drama Aghla Min al-Hubb Karya Ali Ahmad Bakatsir”. Pembahasan dalam penelitian ini adalah unsur intrinsik yang meliputi tema, tokoh dan penokohan, alur, setting, gaya bahasa serta amanat. Drama ini terdiri dari tiga babak dan 14 adegan. Dengan menggunakan metode deskriptif kualitatif, sumber data peneliti adalah naskah drama Aghla Min al-Hubb. Peneliti menyimpulkan bahwa tema dalam karya tersebut tentang perkembangan Islam, manusia dan kehidupan dari kebanyakan manusia modern yang mengalami krisis spiritual serta gangguan kecemasan psikologi

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Lvov, D., and Yu Soloviev. "Volkonsky V.A. The Drama of Spiritual History: Extraeconomic Grounds of Economic Crisis." Voprosy Ekonomiki, no. 9 (September 20, 2004): 155–56. http://dx.doi.org/10.32609/0042-8736-2004-9-155-157.

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Dimitrova, Denitsa. "Postmodern Aesthetics and Mythological Imagery in the Late Works of Yavor Tsanev." Visual Studies 8, no. 3 (2024): 391–97. https://doi.org/10.54664/nwme9165.

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The article considers the art of Yavor Tsanev as personal, clothed in silence, even aristocratic. He has a very clean, laconic, synthetic language in his painting. He is a minimalist who achieves a very strong and deep spiritual stillness and drama in his art. His works visually leave an impression of hypnotic and metaphysical impact, with accumulated spiritual experience. In them, freedom was achieved in the thematic-mythological interpretation of the soul and spiritualization of the material. The paintings of Yavor Tsanev are conceived as fascinating narratives, filled with fantasy in the co

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Guseynov, Malik Alievich. "CONFESSIONAL LYRICS BY TEMIRBULAT BEYBULATOV." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 21 (March 16, 2020): 36–39. http://dx.doi.org/10.31029/vestiyali21/6.

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The article considers one of the aspects of confessional lyrics of T. Beybulatov, reflecting the deep spiritual drama of the poet during his stay in prison. These works, with the dominant lyrical, soulful intonations, pain and anxiety of the lyrical hero, reflect the multi-vector development of Kumyk, all Dagestan poetry of the first years of the Soviet period.

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Lawson, Kevin E. "Light from the “Dark Ages”: Lessons in Faith Formation from before the Reformation." Christian Education Journal: Research on Educational Ministry 14, no. 2 (2017): 328–46. http://dx.doi.org/10.1177/073989131701400206.

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This article explores how parish members in the later medieval era in England learned the Christian faith through a variety of means (e.g., preaching, liturgical calendar, art, music, poetry, drama, confessional instruction, spiritual kinship relationships, catechetical instruction) with an eye on what we might learn from this era that could strengthen the church's educational ministry efforts in the present.

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Profit, Jones Okeoghene. "A Methodological Review of Mike Bamiloye’s Concept of Christian Drama." African Journal of Religious and Theological Studies 3, no. 1 (2025): 85–99. https://doi.org/10.62154/ajrts.2025.03.010719.

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Mike Bamiloye's definition of Christian drama as a "dramatic illustration of Christian messages on stage, films, radio, television, and in print for the purposes of regeneration, revival, restoration, enlightenment, and motivation" offers a contemporary framework for combining both theatrical and evangelical phenomenon inclusive of the pedagogical model for Christian drama. This study provides a thorough methodological assessment of his concept through text analysis, drawing on established theories within the context of theatrical arts, such as Aristotelian mimesis and catharsis, Brechtian epi

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Anjasmara, Aan, Tifani Kautsar, and Andriyana Andriyana. "PENGENALAN TEKNIK LATIHAN NAFAS, SUARA, DAN RASA UNTUK PEMBELAJARAN DRAMA BAGI GURU SE-KABUPATEN KUNINGAN." Journal of Empowerment 4, no. 1 (2023): 32. http://dx.doi.org/10.35194/je.v4i1.3261.

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ABSTRAK Pengajaran sastra pada materi drama sangat dibutuhkan guru untuk mengasah kreatifitas dan kemampuan berfikir kritis dalam sebuah pementasan drama. Drama sebagai karya sastra dan karya pentas merupakan dua hal yang penting untuk diajarkan disekolah. Pengabdian tentang pengajaran drama bagi guru diperlukan untuk membangun konstruksi pemahaman yang ajek tentang permainan drama. Tekik dasar bermain drama sebagai aktor memiliki latihan dasar yang harus dikuasai mulai dari olah raga, nafas/suara, dan olah sukma yang diajarkan kepada guru untuk dipraktikkan kepada siswa. Pengabdian dilaksanak

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