Academic literature on the topic 'The original drama works'
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Journal articles on the topic "The original drama works"
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Zhang, Xiangyun. "La traduction du théâtre français en Chine." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 5, no. 2 (2007): 171–94. http://dx.doi.org/10.1075/forum.5.2.09zha.
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This article first presents a list of French dramas which have been translated into Chinese and performed in China. By analysing the list of works, the author attempts to nail down the factors which influence both the translation and the performance of French dramas in China. In addition to the selection of dramas made by the translators or the stage directors from the cultural perspectives, there are still specific requirements for the translated works to be performed on the stage in China. This article highlights the importance for the translation works to recover the performance implicit in the text of the original works. Meanwhile, the author explores the process of drama translation by taking examples of the Chinese translation of Le Tartuffe, the famous play written by Molière.
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Petridis, Sotiris. "TV miniseries or long-form film? A narrative analysis of The Haunting of Hill House." Journal of Screenwriting 11, no. 2 (2020): 207–20. http://dx.doi.org/10.1386/josc_00026_1.
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In the last decade, the television landscape has drastically transformed with the digitalization of the medium. Subscription video on demand platforms have started to produce original content and as such, are changing distribution and consumption patterns of contemporary TV series. Netflix, one of the main platforms that instigated this change, has systematically produced original drama and comedy content indented for binge-watching. The Haunting of Hill House is a recent example of these Netflix original miniseries. In this article, I analyse the overarching story of the series and argue that the structure of the narrative works more like a long-form film rather than a TV series. In doing so, I comment on the nature of television drama writing in this new binge-watching era.
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Dahlhaus, Carl. "What is a musical drama?" Cambridge Opera Journal 1, no. 2 (1989): 95–111. http://dx.doi.org/10.1017/s0954586700002913.
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‘Dramaturgy’ is one of those vogue words to which frequent use lends the appearance of being increasingly well understood, whereas the wear and tear to which it is subjected actually makes it ever harder to understand. When a word has lost almost all meaning through overuse, the simplest way to make it usable again is, of course, to try to restore its original meaning. It should be possible to agree that dramaturgy is the composition of dramas tout court, and there can be no serious objection if that basic definition is understood to include the theories and principles of dramatic composition (as Lessing did in his Hamburgische Dramaturgie). In that sense ‘dramaturgy’ is to drama what ‘poetics’ is to poetry: it denotes the essential nature of the categories that form the basis of a drama and can be reconstructed in a dramatic theory.
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Lazirko, Nataliia. "GEORGE KAISER’S WRITING IN THE RECEPTION OF YURI KLEN." Polish Studies of Kyiv, no. 35 (2019): 201–6. http://dx.doi.org/10.17721/psk.2019.35.201-206.
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The given article deals with Klen’s research of the German dramatist George Kaiser. The main parameters of artistic universe of this author are presented in the article. There are also outlined the methodological strategies of research the German dramatist’s creativity by Yuri Klen – a well-known Ukrainian literary critic. Georg Kaiser is one of the brightest representatives of theatrical and literary expressionism. His plays are the unique phenomenon in the 20th century drama. His expressionism appeared to be the special one and the global and scope of plots allowed scientists to call G. Kaiser a «new myth creator». Among world scientists, who comprehended the features of author manner of this sign artist for history of world drama, a main place belongs to the Ukrainian literary critic – Yuri Klen. In his scientific work there is the article «George Kaiser», which an author compositionally divides into seven parts. Its pre-condition is an original metaphorical lineation (vivid registration of which is adopted from astronomy), structural-semiotics assertion that every writer creation has a basic idea or favourite main image, that can be found in many writings of the author. However, in the Ukrainian literary critic’s opinion, it is not impossible to say it on the first sight about George of Kaiser because every work of this author has a new incarnate idea, new and unexpected development of a plot, new and original interpretation of that problem which has been solved in his previous works. In the article “George Kaiser” by Yuri Klen the biographic approach can be highlighted while analyzing creative works of the German dramatist. The Ukrainian literary critic also outlines the secrets of psychology of the German artist creation in expressionism manner. Expressionism drama is always drama of ideas; therefore acting persons of this drama are not individuals, but types which helps writer to lead the general action of the characters. Yuri Klen asserts transformation of images in dramas by George of Kaiser, their original reduction up to separate characters and allegories: his characters lost the outlines of people and become symbols of idea, super individual creatures, typical samples, and logic of acting can be sacrificed for the sake of the higher logic – logic of composition and dramatic construction. Few times a researcher accents on closeness an artistic world view of the German dramatist to cubism: characters mainly don’t have the names, but appear on the stage under the names: a «father», «multimillionaire», «black», «yellow» – they are structural formulas. Summarizing these the structural-semiotics searches, Yuri Klen marks once again that in George Kayiser’s works can be found: 1) central idea of man renewing which is peculiar for all his creative work; 2) leading motive of escape-chasing and 3) element of contingency which manages events, that is a case-shove which suddenly gives dynamic of action and sets fire before a man as a distant lighthouse – dream about renewal. It is also possible to assert that researches of expressionism by some authors whose creation correlates with expressionism views demonstrates complete maturity of Yuri Klen to be a serious literary critic armed by the newest methodological approaches to study literature as theoretician and practician of literature studies.
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McMillin, Arnold. "The Prose and Drama of an Outstanding Poet, Voĺha Hapiejeva." Przegląd Wschodnioeuropejski 10, no. 2 (2019): 205–20. http://dx.doi.org/10.31648/pw.5474.
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This article reviews the prose and drama of Voĺha Hapiejeva up to 2018. The main themes of her work are: feminism, gender and sexual relations in a patriarchal society, and also various aspects of contemporary life, A Candidate of Science, she brings into her works, humorously, a variety of linguistic and grammatical forms. Her work is notable for its strong use of imagery, lively dialogues and many, especially in the plays, much absurdity. Without doubt Hapiejeva is not only one of boldest and most original of the promising Belarusian poets of our day, but also a very talented prose writer and dramatist.
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Griffin, Brent. "“Original Practices” and Jonson's First Folio." Ben Jonson Journal 25, no. 1 (2018): 19–31. http://dx.doi.org/10.3366/bjj.2018.0208.
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Over the past twenty years or so, performance-based efforts to recreate the staging conditions and production modes of Elizabethan/Jacobean playhouses through “original practices” (OP) have developed at a considerable rate. One has only to note the popular appeal of theatre companies working from Early Modern architectural replicas (like London's Bankside Globe or Virginia's Blackfriars) to recognize the pervasive influence of the “reconstructive Shakespeare” movement on our understanding and interpretation of Renaissance drama. Yet, as the name would suggest, the movement is too often grounded in a performance aesthetic predicated solely on Shakespeare's playtexts (indeed, for many, the 1623 Folio is followed with a near religious fervor). But truth be told, other playwright/practitioners of the era have far more to say on the matter of staging verse drama than Shakespeare, and made a point of publishing their thoughts directly through prefatory material, commendatory verses, pamphlets, etc. Fletcher and Heywood immediately come to mind, but this paper will focus on the most prolific critic of the period, Ben Jonson. Not to be overshadowed by the numerous commemorations of Shakespeare's death, 2016 also marked the 400th anniversary of the publication of Jonson's landmark First Folio, and a brief review of his 1616 Workes should provide ample occasion to challenge several of the “original practices” championed by bardocentric theatre companies and their educational auxiliaries.
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Richmond, Steven. ""And Who Are the Judges?": Mikhail Bulgakov Versus Soviet Censorship, 1926-1936." Russian History 33, no. 1 (2006): 83–107. http://dx.doi.org/10.1163/187633106x00050.
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AbstractMikhail Bulgakov is renowned for his challenge to the dry literary canons of the Soviet regime through his fantstical works of colorful content and unorthodox form, such as Sobach'e serd'tse (Heart of a Dog) and Master i Margarita. But Bulgakov is much mort than an exotic exception to Soviet puritanicalness. His works also include the highly practical and realistic, such as the tragic war-time works "Zapiski iungo vracha" (Notes of a Young Doctor) and Belaia gvardiia (The White Guad). Bulgakov's literary challenge to Soviet censorship also took direct forms. including two works that brazenly satire and examine the utterly taboo subjest of state censorship: the play, Bagrovyi ostrov (The Crimson Island) and Teaal'nyi roman (Theatrical Novel). Bulgakov's challenge to power also extendel to the epistolary, in the form of letters he sent to the Soviet government (and were read by Stalin) that contain attacks against the Soviet censorship bureau. In this real-life drama of Bulgakov versus Soviet censorship, we witness the icredible creativity and bravery of the artist, as well as discover his original and informative theory about how Soviet censorship operated. Let us begin our examina tion of this drama with the censorship bureau itself, how it first functioned and how it came to focus its sights on Bulgakov.
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Di Pastena, Enrico. "Il bavaglio e la parola. Note su una pièce allegorica di Alfonso Sastre." Caietele Echinox 39 (December 1, 2020): 189–209. http://dx.doi.org/10.24193/cechinox.2020.39.14.
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"In The Gag (1954, original title: La mordaza), Alfonso Sastre recovered the external stylistic features of a rural drama to protest against the censorship of the Franco regime which, at the time of the composition of the play, began to prohibit or oppose the staging of his dramas. Using cues taken from the crime news, mindful of the lesson by O’Neill in Desire under the Elms and refining previous personal experiences, Sastre wrote a sparse drama of unquestionable communicative efficacy, in which the situation of an entire country is evoked through the events of a family tyrannized by a father-master. The Gag opposes to the forced silence the responsible and revealing words of denunciation of a rebellious character and the confident words of its creator. He does not fail to reflect on the distortions that every winner imposes on language."
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Логинова, Е. Г. "The notion of the arts as “unnatural natural” communication (exemplified by the discourse of drama)." Иностранные языки в высшей школе, no. 3(54) (December 18, 2020): 88–96. http://dx.doi.org/10.37724/rsu.2020.54.3.008.
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В статье предпринимается попытка применить ряд положений когнитивной поэтики, семиотики и лингвистики к традиционным вопросам филологического анализа литературно-художественного дискурса, взятого как пример художественной коммуникации. Обосновывая понятие «неестественной естественности» художественной коммуникации, автор обращается к инструменту, способному обеспечить иной уровень анализа художественного дискурса, включающего исходный и трансформированный тексты (пьесу и ее сценическую интерпретацию), когда изучение смыслоформирования в едином коммуникативном пространстве происходит с учетом параллелизма форм, значений и прагматических установок говорящих. The article attempts to apply a number of provisions of cognitive poetics, semiotics and linguistics to the traditional philological analysis of literary works. Justifying the concept of the arts as “unnatural natural” communication (including literary works, theatrical performances, screen adaptions, paintings, etc.), the author relies on the key assumptions expressed in the works by Yu. Lotman, U. Eco, R. Barthes, R. Jacobson, T. van Dijk, M. Freeman and other scholars: “the second (modeling) system”; “literary pragmatics”; “oriented toward the expressive, the emotive and the aesthetic”; etc. The heterogeneous discourse of drama is used to exemplify the theoretical assumptions and so helps to grasp the idea of the arts as “unnatural natural” communication. Moreover, the author of the article speaks of semiotic resonance as a tool that can help to deepen the analysis of the meaning construction in the discourse of drama. Being a multifaceted phenomenon, semiotic resonance provides new perspectives for the analysis of the discourse of drama, when the study of the aesthetic effect of the communicative space as a whole takes into account the parallelism of forms, meanings and pragmatic attitudes of the characters in the original communicative situation and further communicative situations.
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Bignell, Jonathan. "Specially for Television?" Samuel Beckett Today / Aujourd’hui 32, no. 1 (2020): 41–54. http://dx.doi.org/10.1163/18757405-03201004.
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Abstract This article analyses tensions between medium specificity and intermediality in Beckett’s first original drama for television, Eh Joe (1966), which exploits features of the medium such as the spatiality of the studio, monochrome images and close-up. But its visual motifs also echo Beckett’s cinema debut, Film (1964), and uses of sound and voice from his radio plays. The public promotion of Eh Joe centred on its relationships with Beckett’s theatre plays, while Eh Joe’s first audiences adduced frames of reference from both theatre and television. Eh Joe works with the porosity of media boundaries and performatively renegotiates them.
Dissertations / Theses on the topic "The original drama works"
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Bejo, Ermir. "Postmodern Multiplicities in Three Original Works." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062830/.
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My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.
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Buchholz, Robert Henry. "Triathlon: an Original Screenplay." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504205/.
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A young man, out of college and work, sets out to make his mark on the world, by winning the endurance sport of the eighties: the Hawaiian Ironman Triathlon. As he eats, sleeps and breaths "Ironman," he shuts others out of his life because he feels that he must do it alone for the victory to be genuine; a philosophy that has been dogging him all his life.
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Acheson, Keith. "Original composition : a folio of works and commentaries." Thesis, Ulster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395332.
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Horany, Sarah B. (Sarah Beth). "Original Short Stories." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501088/.
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This thesis consists of three original short stories: "August Morning," "Weekend Idyll," and "Free Ride." In addition, an appendix has been added which contains "Hamilton House Roundabout," the original version of "Weekend Idyll." It is included to illustrate the dramatic changes that can occur in the writing process. "August Morning" focuses on a young man's struggle to gain his freedom from his family, particularly his overbearing father. Whether or not he succeeds is ultimately up to the reader. "Weekend Idyll" follows a young woman as she tries to live a dream she has long believed in. Ultimately, her vision is shattered. The final story, "Free Ride," centers on a hapless teenager who finds happiness only in the exhiliaration of racing. Ultimately, it kills him. I wrote stories rather than an analysis primarily for practical reasons. As a teacher I found an exercise in writing more readily transferrable to my classroom.
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Martin, Brona Colette. "Portfolio of original compositions." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(7253d29c-0bbc-45f1-acc2-65acd0041ff0).html.
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Electroacoustic music has a unique ability to connect the listener to places, space and stories both real and imaginary. Each work within the portfolio explores specific objects, spaces and places. The intrinsic sonic qualities are explored and a musical narrative takes the listener through a newly composed imaginary space. Six original compositions are presented in this portfolio. The titles of these works are as follows: Lamenting, 192, All Along the Bell Tower, Oz, The Thing About Listening is…. and A Bit Closer to Home. Narrative structures that simulate a journey are used as a guide for the listener through immersive, virtual soundworlds. These spoken word and musical narratives also serve as a structural tool for the composer. Imagined and real sonic layers within stories and soundscapes are analysed, deconstructed and manipulated. These works convey a message, story or sense of place to the listener, while revealing sonic qualities that are not normally the focus of listening. My aim as a composer is to enhance the daily listening experiences of the listener, as they become more aware and appreciative of the sounds around them, through the sounds and spaces they experience in my music.
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Ding, Grace T. "The Circuit: An Original Television Series." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/881.
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Between good and evil there's a whole lot of gray: Welcome to The Circuit.
A shady private security firm recruits criminals straight out of prison and sells its services to the highest bidder, saint and sinner alike (mostly sinners). Through the trials and tribulations of a diverse ensemble cast, the show explores some of my absolute favorite themes in storytelling: gray morality, found families, and unlikely heroes. Follow our gritty and guarded lead Shaye as she struggles to tame a group of talented and contentious ex-cons under the shadow of her ambitious and manipulative father, all the while struggling to maintain her integrity in a world where nobody's the good guy.
This thesis is an original television drama series, and consists of two full episodes as well as thirteen episode synopses for season one. It is also a work in progress, so feedback is welcome.
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Lignitz, Kellie. "A Survey of Four Original Works for Clarinet and Guitar and Their Effect on Compositional Output for the Repertoire." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271856/.
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In the last three decades there has been a surge in original compositions for clarinet and guitar resulting in the repertoire virtually doubling in size. However, documentation and research of original works in published sources remains limited and is quickly becoming outdated. This document reviews the current resources and reviews the newer published materials. Early chamber music works for guitar and clarinet typically required the guitar to supply harmonic support to the clarinet's upper voice, which carried the themes. An examination of the earliest works, which date from the early nineteenth century, suggests, in other words, that the two parts were not treated equally, in contrast to modern-day chamber music, in which melodic elements are proportionally balanced between the two instruments. A critical survey and comparison of four significant works from the repertoire reveals a development toward motivic balance, a progression towards melodic equality that continued in subsequent compositions. The four works surveyed are: Heinrich Neumann's Serenata Svizzera Op.29, Ferdinand Rebay's Sonata for Clarinet and Guitar No.2 in A minor, Libby Larsen's Blue Third Piece, and Gernot Wolfgang's Four Miniatures. An extensive compilation of over 300 original published and unpublished works for clarinet and guitar, bass clarinet and guitar, and more than one clarinet and/or guitar is included.
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Harvey, Andrew. "Original sin, grace and free will in the works of Jeremy Taylor." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3286/.
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Taylor is an early example of a divine who wanted to find a way of remaining an orthodox Christian while rejecting the Augustinian doctrine of original sin. Taylor could not see how the term ‘sin’could be correctly applied to anything but an individual’freely-chosen acts. However, he recognised that the reduction of the Christian concept of sin to particular sins constituted the Pelagian heresy. He attempted to avoid it by placing the insight behind the traditional doctrine in the challenge posed to the will by a naturalised version of the Augustinian fallen state, which was nonetheless morally indifferent in itself. The insights and confusions in Taylor’treatment of original sin and his anthropology, notably regarding the human will and its freedom, provide a fruitful basis for a more general consideration of the question of ‘orthodoxy’concerning original sin and the classical Christian doctrine of man.
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Ali, Farah Hasan. "Eroding the language of freedom : identity predicament in selected works of Harold Pinter." Thesis, University of Hull, 2015. http://hydra.hull.ac.uk/resources/hull:16441.
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In a world brimming with upheavals our individual identities are threatened with annihilation, every social eruption carries seeds of change. The word change is pregnant with both positive and negative possibilities, one hand, it allows human beings a chance of tremendous progress or on the other, it constrains human progress. Harold Pinter, once described as the ‘a master of Uncertainty’, 1 provided valid situations and formulas in his dramas in which the identities of his characters are deployed in two different categories: (i) those who stick to their identities to the extent of destroying the Other, thus creating oppressors out of themselves, and (ii) those who desperately fight to preserve their different identities in the face of the shifting landmarks created by the oppressors. Therefore my study is an attempt to develop a new conceptualisation of the term ‘identity’, to see how it has been employed in seven selected works of Harold Pinter. My thesis is not concerned with following the evolution of Harold Pinter dramas as much as the representation of his characters and the fluctuation of their identities in the face of the totalitarian powers. The hegemonising policies of these powers come in different shapes in public or private spheres, therefore the treatment of identity in my thesis takes different categories, and each category is approached with relevant set of theories to cut to the bone of Pinter’s philosophy of the individual as an independent and free human being in this world. The hegemonic powers do not emerge out of the vacuum, they stealthily encroach on governing systems progressively be they democratic or undemocratic. They create small incisions in our moral code, a ‘slow morphing of our social landmarks’,2 that results in a brainwashing process with different techniques and targets that are set against any individual who shows symptoms of non-conformity. My thesis highlights such processes, and examines those individuals who accept to be brainwashed as well as those who do so under duress in light of the suggested theories. Although draconic measure in Pinter dramas include everybody, a subaltern feminist theme is running in parallel with the theme of subduing the identity of the Other by focusing on the position of women in his dramas. By following different representations of characters in different circumstances, my thesis is an attempt to add another layer to the concept of identity as seen from my own experiences and as represented in Pinter dramas. It does not offer solutions or alternatives as much as representing situations in which the concept of identity is at stake. Words such as power, violence, and hegemony are part and parcel of this process. Moreover, by spotting the weaknesses in any given system or social model, I’m diagnosing the inadequacies that need to be negotiated, or addressed in order to protect our identities as free individuals who are not in need of more restrictions to regulate our lives as much as we need to break away from them to establish ourselves with only one identity: humanity.
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Keefe, Martha L. (Martha Lundin). "Excuses for the Universe." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504600/.
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We create fictions--personal and literary--to cope with fear, and it is our choice whether or not these inventions affirm life. This collection presents many ways of "making excuses for the universe," both from a personal standpoint and also by using the voices and visions of created characters. The collection contains a section of family poems and three sets of character poems: Beverly and Nanci, Strange Mary, and Blue Donna. Following each section are two related poems for transition or amplification. The poems show a progressive change in writing techniques, especially experimentation with sound, as well as pursuing the central theme that perception is a desirable goal, well worth the price.
Books on the topic "The original drama works"
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Thon, Eleonore. Adelheit von Rastenberg: The original German text. Modern Language Association of America, 1996.
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Yayati: A play translated from the original Kannada by the author. Oxford University Press, 2008.
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Asoshiētsu, Nichigai, ed. Terebi dorama gensaku jiten: Original works of Japanese television dramas. Nichigai Asoshiētsu, 2010.
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Lavery, Bryony. The wicked lady: An adaptation of the original novel, The life and death of the wicked Lady Skelton, by Magdalen King-Hall. Oberon Books, 2009.
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1904-, King-Hall Magdalen, ed. The wicked lady: An adaptation of the original novel, The life and death of the wicked Lady Skelton, by Magdalen King-Hall. Oberon Books, 2009.
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Goethe, Johann Wolfgang von. Goethe's Faust: The original German and a new translation and introduction. Anchor Books, 1989.
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Theatre as witness: Three testimonial plays from South Africa : in collaboration with and based on the lives of the original performers. Oberon Books, 2008.
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Shakespeare, William. The family Shakespeare: In which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family. Cambridge University Press, 2009.
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Wilde, Oscar. The original four-act version of The importance of being earnest: A trivial comedy for serious people. Methuen London, 1989.
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Goethe, Johann Wolfgang von. Goethe's Faust: The original German and a new translation and introduction by Walter Kaufmann. Anchor Books, 1989.
Find full textBook chapters on the topic "The original drama works"
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Ó Siadhail, Pádraig. "Gearóid Ó Lochlainn: The Gate Theatre’s Other Irish-Speaking Founder." In Cultural Convergence. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_3.
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Abstract The association of the Gate Theatre with the Irish language has been always conceived via Micheál mac Liammóir; however, another of its founders, Gearóid Ó Lochlainn, was also Irish-speaking. Ó Lochlainn was a versatile actor in Irish and English, wrote a series of plays in Irish and translated into Irish works by Shakespeare, Ibsen and others. This chapter seeks to fill a gap in the story of the Gate by providing a brief biographical sketch of Ó Lochlainn, including his time in Denmark, a discussion of his role in efforts to establish Irish-language theatre in Dublin (specifically, An Comhar Drámuíochta, which was hosted by the Gate Theatre in 1930-1934), a summary of his involvement with the Gate, a critique of his original plays and his translations which, in introducing Dublin’s Irish-language theatregoers to world drama, complemented the mission of the Gate, and an assessment of Ó Lochlainn’s achievement.
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Kleinecke-Bates, Iris. "Murder Rooms and Servants: Original Drama as Metadaptation." In Victorians on Screen. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137316721_4.
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Onions, John. "The Minor Works." In English Fiction and Drama of the Great War, 1918–39. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20620-9_4.
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Leong, Daphne. "Drama in Structure." In Performing Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0008.
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Messiaen’s Visions de l’Amen is interpreted as ritual cum drama, enacted by its two pianists. Beginning with the work’s compositional background, this chapter profiles Visions’ two original pianists (Messiaen and Yvonne Loriod), describes the occasion of its premiere, and outlines its extramusical inspiration in Messiaen’s visions of the Amen. Messiaen uses combinatorial means to create Visions’ ritual and drama: repeating, varying, superposing, juxtaposing, combining, and recombining. His combinatorial materials are themes, timbres, and harmonic and rhythmic modules: two types of themes (the Creation theme and the blackbird’s song), two types of timbral elements (birdsong and percussion sounds), and two types of pedals (rhythmic and melodic-harmonic) are discussed, exploring their construction, locations, and functions in Visions. The two pianos themselves, along with the constructs of ritual and drama, are viewed as combinatorial components; the chapter closes by showing how the two pianos, in combination, enact ritual and drama through their relationships.
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Spadafora, Giovanna. "Geometry and Drama in Borromini's Architectural Details." In Advances in Media, Entertainment, and the Arts. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch027.
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This paper is based on some considerations on the inter-scalar figurative relations which bind all of its constituents and elements of detail, within a work of architecture. This relation can be an environment in which to study the portal created by Francesco Borromini and the door cornices, inside Palazzo Falconieri, so far ignored by historiography. The text contextualizes these analysis and observations within Borromini's relationship with antiquity focusing on the role of design and of geometry in the definition of his language. The original drawings of the project and the construction of the entry portal to the apartment of Orazio Falconieri were used to evaluate the relationship between the drawings and what was built, based on the data of the direct survey considered, in this case, as the most effective instrument of knowledge. The results, though partial, permit the clarification of some of the construction events related to the Palazzo.
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Karapapa, Stavroula, and Luke McDonagh. "2. Subsistence of copyright." In Intellectual Property Law. Oxford University Press, 2019. http://dx.doi.org/10.1093/he/9780198747697.003.0002.
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This chapter examines the subsistence of copyright. Subsistence is a central requirement for copyright protection — unless it is established that copyright subsists in one's work, one cannot make a viable claim that someone else has used one's work without permission. Section 1 of the Copyright, Designs and Patents Act 1988 (CDPA) declares that copyright is a property right which subsists in an exhaustive, or closed, list of eight different categories of ‘work’: original literary, dramatic, musical, or artistic works; sound recordings, films, or broadcasts; and the typographical arrangement of published editions. Originality is the paramount criterion of copyright protection. For this reason, there are a great many cases that consider how to define the level of originality required for a piece of literature, drama, music, or art to be protected.
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Marvin, Carolyn. "Dazzling the Multitude Original Media Spectacles." In When Old Technologies Were New. Oxford University Press, 1990. http://dx.doi.org/10.1093/oso/9780195063417.003.0009.
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Anthropologists and literary theorists are fond of emphasizing the particularistic and dramatic dimensions of lived communication. The particularistic dimension of communication is constituted in whatever of its aspects have the most individually intimate meaning for us. The dramatic dimension is the shared emotional character of a communicated message, displayed and sometimes exaggerated for consumption by a public. Its dramatic appeal and excitement depend partly on the knowledge that others are also watching with interest. Such dimensions have little in common with abstractions about information and efficiency that characterize contemporary discussion about new communications technologies, but may be closer to the real standards by which we judge media and the social worlds they invade, survey, and create. Media, of course, are devices that mediate experience by re-presenting messages originally in a different mode. In the late nineteenth century, experts convinced of the power of new technologies to repackage human experience and to multiply it for many presentations labored to enhance the largest, most dramatically public of messages, and the smallest, most intimately personal ones, by applying new media technologies to a range of modes from private conversation to public spectacle, that special large-scale display event intended for performance before spectators. In the late nineteenth century, intimate communication at a distance was achieved, or at least approximated, by the fledgling telephone. The telephone of this era was not a democratic medium. Spectacles, by contrast, were easily accessible and enthusiastically relished by their nineteenth-century audiences. Their drama was frequently embellished by illuminated effects that inspired popular fantasies about message systems of the future, perhaps with giant beams of electric light projecting words and images on the clouds. Mass distribution of electric messages in this fashion was indeed one pole of the range of imaginative possibilities dreamt by our ancestors for twentieth-century communication. Equally absorbing was the fantasy of effortless point-to-point communication without wires, where no physical obstacle divided the sympathy of minds desiring mutual communion.
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Prushkovska, Iryna. "TURKISH TRANSLATIONS OF SHAKESPEARE’S WORKS: LITERARY INTEGRATION." In European vector of development of the modern scientific researches. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-077-3-18.
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The article is devoted to the analysis of the functioning of Turkish translations of Shakespeare's poetry and dramaturgy, the formation of a holistic picture of the stages of discovery of Shakespeare by the Turks. The aim of the study is to identify and present the main points related to the transfer of Shakespeare's word into Turkish culture through translations from European languages. The proposed study is focused on translation aspects, as translation has become the first link in the dialogue between English and Turkish literature during the contact and interaction of Turkish literature with the Western, the processes of familiarization of the Shakespeare with the Turks, the perception and reproduction of Shakespeare's creativity on Turkish soil. In this study we used such methods as the cultural-historical method, which focuses on the translation of Shakespeare's works in relation to the cultural-historical development of Turkish society; a comparative method aimed at comparing the original sonnets and dramas of Shakespeare with translations into Turkish; receptive-aesthetic method, focused on focusing on how the pictorial and expressive artistic means of Shakespeare's works in Turkish translations are projected on the recipient (reader), convey to him the author's idea. Particular attention is focused on the translation analysis of some sonnets and dramas. Working with factual material revealed the basic prerequisites for entry into the Turkish literature of Shakespeare's works (Divan literature, the period of reforms), made it possible to characterize the first stage of translation studies – namely, the translation of Shakespeare through the prism of the French language, and accordingly the translation from the French language. As a result, we conclude that no artistic translation, especially poetic one, can be definitive, since there are always unrealized reserves of the original hidden in the multifacetedness of its associative relations. And each translation is only a certain link, the voicing of voices in the process of functioning of the artistic image. This can be explained by the considerable number of translations in Turkish of both the poetic and dramatic works of Shakespeare from the second half of the 19th century to the present. Also the great potential of the Turkish youth in the translation field has been revealed, which is certainly facilitated by the popularity of English and literature in higher education. institutions.
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Leo, Russ. "Introduction." In Tragedy as Philosophy in the Reformation World. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198834212.003.0008.
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The Introduction illustrates how humanists like Desiderius Erasmus, Philipp Melanchthon, and Martin Bucer imported the study of drama into theology, mining antique poetics for exegetical and philosophical tools, recruiting tragedy in particular to pedagogical, theological, and devotional ends. Tracing the simultaneous development of Reformed poetics and original works of tragoedia sacra across the first half of the sixteenth century, the Introduction also foregrounds the emergence of a precise philosophical idea of tragedy under the influence of Aristotle’s Poetics. The Introduction illustrates just how important tragedy had become to diverse reformers and Reformers by 1550, underscoring the theological and philosophical purchase of tragedy and the Poetics in and beyond dramatic practice.
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Eastman, Helen. "Ancient Greek Sailors with Twentieth-Century Metaphors (and Pan-Chronic Trousers)." In Seamus Heaney and the Classics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0007.
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This chapter particularly focuses on the duality of Heaney’s chorus, who are nominally the ancient sailors of the original, but use a diction and metaphoric landscape that places the play firmly in Heaney’s Ireland. We look not only at the literary and political implications of this, but specifically at the challenge it gives actors and directors working on the text. This chapter examines how the dual locus of The Cure at Troy works dramaturgically and visually, as an act of translation across time, space, and cultures, and the political questions the play raises by fusing chorus and God at the end of the play. As part of this exploration, the chapter charts Heaney’s journey to find a workable English verse line and metre for translating ancient drama, exploring his correspondence with Ted Hughes on the question. Furthermore, we look at the afterlife of The Cure at Troy, particularly revisions that Heaney has made when excerpts have been published in other contexts.
Conference papers on the topic "The original drama works"
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Dencsak, Tamas. "SUSTAINABILITY�EVALUATION�OF�CONSTRUCTION�WORKS�USING�AN�ORIGINAL�MODEL." In SGEM2012 12th International Multidisciplinary Scientific GeoConference and EXPO. Stef92 Technology, 2012. http://dx.doi.org/10.5593/sgem2012/s20.v5112.
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Drozenová, Wendy. "Technika, autonomie a etika: ke stému výročí Čapkova dramatu R. U. R." In 100 let R. U. R. Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9688-2020-1.
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Čapek’s drama R. U. R., which is rather a social dystopia than a science fi ction (the principle of functioning of robots is not suggested, the drama is focused on the impact on humanity), shows the double face of technology: Th e dream about the “liberation of work” easily takes a turn for its opposite, and for destruction of humanity in consequence of ruthless utilization of the technological achievement for selfi sh economical and militaristic interests. „Autonomous technology“, which is not controlled by human aims any more, but by the rules of its own development, became an important subject of philosophy and ethics of technology (e.g. in works by J. Ellul, H. Jonas), and has a warning eff ect. Today, Industry 4.0 and the process of robotization bring new promises, but also new problems. Th e legacy of Karel Čapek includes values of humanism and understanding for other people’s views and needs, which is valuable for developing ethics of technology in democratic society.
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Kryukova, Larisa, and Anna Khiznichenko. "IMAGES OF SOUND IN ORIGINAL AND TRANSLATED POEMS BY BORIS PASTERNAK." In Aktuální problémy výuky ruského jazyka XIV. Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-12.
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The aim of the article is a linguistic analysis of sound images in the context of original and translated poems by Boris Pasternak. The authors focus on the author’s individual features of perceptual imagery representation. This imagery is the basis for poetry transformations found in Pasternak’s Russian translations of poems by John Keats. Sound images in the translated poems have the same semantic and ‘poetic’ characteristics as in the original works by Pasternak.
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Almagro Gorbea, Antonio. "La forma original del Cubete del Alcázar Real de Carmona." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11487.
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The original shape of the Cubete of the Alcazar of CarmonaAmong the works of the so-called “transitional” military architecture from the last quarter of the fifteenth century, one of the most unique cases erected in the Iberian Peninsula is the Cubete of Carmona (Seville). This bastion built in the times of the Catholic Monarchs follows the new poliorcetic standards, but with forms, which are quite innovative and could be considered breakthrough. Conceived as a bastion external to the Alcázar Real, it has a moat in part connected with the moat of the main fortress. The bastion is open in the rear, and could be consider a ravelin, although its location is in an angle of the outer enclosure of the Alcazar, which preludes the subsequent pentagonal bastions. Its anomalous plan is a horseshoe shape that has been discussed by various authors, but so far, there has never been a fully detailed survey with elevations and sections, nor, above all, an attempt to address their hypothetical reconstruction. This paper presents new plans, sections, elevations and images that proves this work is unusual and truly revolutionary for its time.
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Wenshuang Feng. "Song of the soul with free and easy freedom - talk about the song of original works of music of Chinese network." In Conceptual Design (CAID/CD). IEEE, 2008. http://dx.doi.org/10.1109/caidcd.2008.4730807.
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Ngo Thi Thanh, Quy, and Minh Nguyen Thi Hong. "Vietnamese Proverbs: Values Preserved in Modern Society." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-4.
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Vietnamese proverbs has created long-lasting values which are being passed on to the modern society with numerous passions. These values include humanistic values confirming the human position in life. They also comprise social values and human philosophy as well as aesthetic values. Therefore, typical proverbs of the Viet people which have beem transferred to the younger generations via literary works such as Việt điện u linh (A collection of Vietnamese misteries) in the 14th century, Lĩnh Nam chích quái (A selection of the Viet extraordinary stories) in the 15th century are still being passed on until the present days. With the foundation of traditional Vietnamese proverbs, modern proverbs have undergone profound changes as seen in modern life through different forms of media including printed and audiovisual media as well as internet. It is obvious that traditional proverbs has regenerated in the new appearance. Proverbs are reproduced in modern literary works. Proverbs are also recreated and transformed in prose, poetry and drama. The movement and development of proverbs in our modern society confirm their deep values of the traditional culture. Writers, journalists and artists of other art forms have not only received the art tradition of word use of the ancestors but more importantly they have inherited the culural environment, humanistic values and life philosophies in order to transfer to the next generations. Henceforth, in the modern society Vietnamese proverbs are not obliterated but remain their vitality with different forms and have been of the Vietnamese people’s favourite.
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Tan, H. W., J. C. H. Phang, and J. T. L. Thong. "Automatic IC Die Positioning in the SEM." In ISTFA 2000. ASM International, 2000. http://dx.doi.org/10.31399/asm.cp.istfa2000p0469.
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Abstract This paper presents a new automatic die positioning system for failure analysis work in the scanning electron microscope (SEM). The system makes use of machine vision to automatically locate a prespecified failure site on an integrated circuit (IC) sample, without the need for a high-accuracy specimen stage or modifications to existing SEM hardware. Depending on the appearance of the desired failure site, either image registration or feature tracking is used to locate the site. To locate failure sites containing unique and distinguishing features, such as those found on logic ICs, an image registration procedure is used. Experiments carried out on a microprocessor and an analogue-to-digital converter show that the new system is able to accurately locate the failure site, even in the presence of IC sample rotation and image scaling. Moreover, the accuracy of the technique has been shown to be independent of the complexity and minimum feature size of the sample used. To locate failure sites containing repetitive IC patterns, such as those from DRAM samples, a feature tracking approach was incorporated into the original die positioning algorithm. The final system can therefore locate many types of failure sites, regardless of whether they have unique features or repetitive IC patterns.
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Crofts, John G. "The Original “Silken Valley”: How and Why the Derwent Valley Became the Birthplace of the Industrial Revolution." In ASME 2002 International Mechanical Engineering Congress and Exposition. ASMEDC, 2002. http://dx.doi.org/10.1115/imece2002-33134.
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The paper outlines the history of the extraction of power from the River Derwent in Derbyshire, England, a source of abundant, reliable and vigorous water flow; and how this renewable power source provided power for the industrialization of what were formerly cottage occupations. The Romans introduced Water Wheels to Britain in the 1st century, which were used in the Derwent Valley to grind grist, mine lead, power iron forges and pump water. The prototype factories of the Industrial Revolution were built here, utilizing water power technology to drive textile mills. Cotchett’s Silk Mill, built in Derby in 1702, was followed by Lombe’s Silk Mill nearby in 1717, Then followed the cotton industry, led by Arkwright and Strutt in Cromford, the first “modern” mill, with 200 hands and round-the-clock operations, in 1771. After this success, Strutt built a larger mill in 1782 at Belper, powered by eleven 21 ft diameter water wheels. Samuel Slater, apprenticed during the building of this mill, emigrated secretly to America, where he enabled the first successful U.S cotton mill to be built in Pawtucket, R.I. The skills and traditions remain in the area, in such notable companies as Rolls-Royce and the Royal Crown Derby Porcelain works.
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Oh, Min Han, Ki Myung Lee, and Young Sik Jang. "An Idealization of Wave Scatter Diagram for Spectral Fatigue Analysis." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79721.
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A spectral fatigue analysis method is most popularly applied for the detailed design of FPSOs. As the environmental loads at the installation site are directly calculated in the spectral analysis, this method gives the most reliable results although it needs much time-consuming works to fully reflect the environmental loads. As the technology of wave measurements advances, the measured wave data increase. Also their spectral models are very complicated because these include many wave components such as swells and wind seas. Since much time and effort are needed to treat these enormous and complicated wave data for the spectral fatigue analysis, a rational idealization of wave data is definitely required. In this paper, wave scatter diagram at Offshore Nigeria was reviewed and their idealization method was proposed. The influence level of each sea state of the wave scatter diagram was identified considering the fatigue damage levels estimated from the significant wave heights and dominant fatigue load RAOs. The sea states giving small fatigue damages were lumped symmetrically by merging or disregarding while those giving large fatigue damages were kept as original. For the validation of this method, the comparisons of dominant fatigue loads and representative fatigue damages were presented for the idealized wave scatter diagram and the original one. From these comparison works, it was confirmed that the idealized wave scatter diagram gives reliable results with reduced amount of calculation work.
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Prozniak, Steven, Safia Moniz, and Jayden Mellsop. "Alternative design for the replacement Cambridge Pipe Bridge." In IABSE Congress, Christchurch 2021: Resilient technologies for sustainable infrastructure. International Association for Bridge and Structural Engineering (IABSE), 2021. http://dx.doi.org/10.2749/christchurch.2021.0014.
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<p>The new Cambridge Pipe Bridge crosses the Waikato River just south of the historic Gaslight Theatre in Cambridge, NZ. The original pipe bridge was a three span truss bridge with a triangular cross section built from steel circular hollow sections and was constructed circa the early 1970s.</p><p>Waipa District Council is in the midst of a Wastewater Treatment Plant upgrade including new, larger diameter pipework which was proposed to cross the original bridge. As part of the project, strengthening of the existing bridge was designed to accommodate the increased pipe diameter.</p><p>Eastbridge and Holmes Consulting developed an alternative tender submission for the main contractor for the works, Fulton Hogan. The alternative design is a new network arch bridge that provides cost savings relative to the original strengthening scheme, a reduction in safety and environmental risks during construction, reduced maintenance costs, and increased seismic resilience for this critical piece of infrastructure.</p>
Reports on the topic "The original drama works"
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.