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Artículos de revistas sobre el tema "Rome – Drama"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Zucca, Lorenzo. "The Barroso Drama: All Roads Lead to Rome." European Constitutional Law Review 1, no. 2 (2005): 175–81. http://dx.doi.org/10.1017/s1574019605001756.

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Italian governmental crisis at the origin of Rocco Buttiglione's nomination. Hearing before Civil Liberties committee and unprecedented rejection of Buttiglione. October events trigger changes in Italian governmental team. The EU: a Catholic conspiracy?

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2

Giorgio, Jean-Pierre De. "Defining dialogue in ancient Rome." Dialogue and Representation 2, no. 1 (2012): 105–21. http://dx.doi.org/10.1075/ld.2.1.06gio.

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This article investigates the process whereby Greek dialogue was reinvested in the Roman world, based on a study of Cicero’s De oratore. This work is considered in the light of classical theories of the literary genre developed in the 1st century BCE, under the influence of Hellinistic research, and in the light of the modern notion of interaction. Situated on the frontier between drama and the social practice of conversation, philosophical dialogue established itself as a legitimate constitutive discourse in the field of Roman literature.

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3

Kragelund, Patrick. "Historical Drama in Ancient Rome: Republican Flourishing and Imperial Decline?" Symbolae Osloenses 77, no. 1 (2002): 5–51. http://dx.doi.org/10.1080/00397670260399324.

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4

Holderness, Graham. "‘Our Troy, our Rome’." Critical Survey 34, no. 4 (2022): 93–112. http://dx.doi.org/10.3167/cs.2022.340406.

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In Titus Andronicus, the many classical literary sources of the play function as templates for its events, as if the tragedy had already been anachronistically pre-written by poets of the Augustan era. The literature of the past, like history, serves, in Titus’s own words, as ‘a pattern, precedent and lively warrant’ (5.3.57) for present action and behaviour. When literature and drama appear to become the basis and precedent for human experience, then there is a two-way process of consolidation and de-realisation. Dramatic and poetic literature can start to look more like history; but at the s

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5

Willson, Flora. "Opera's Orbit: Musical Drama and the Influence of Opera in Arcadian Rome." Journal of Modern Italian Studies 17, no. 4 (2012): 477–78. http://dx.doi.org/10.1080/1354571x.2012.690588.

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6

Garczewska, Anna. "Roman law in Tv series ‘Rome’." Collectanea Philologica, no. 19 (December 30, 2016): 129–36. http://dx.doi.org/10.18778/1733-0319.19.11.

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‘Is there some other form of law?’ – that is how Gaius Iulius Caesar (played by Ciaran Hinds) in the TV series ‘Rome’ comments on Roman Law. ‘Rome’ (2005–2007) is a historical drama set in the last days of the Roman Republic. It is one of the most interesting shows helping to visualize Rome. One of the elements portrayed in the series is Roman Law. Although there is a criminal trial presented in one of the episodes the audience is rarely acquainted with law and its rules directly, Roman legal system can be discovered mostly through characters’ actions. There are many legal elements e.g.: penal

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7

Forment, Bruno. "Opera’s Orbit: Musical Drama and the Influence of Opera in Arcadian Rome (review)." Notes 68, no. 4 (2012): 780–82. http://dx.doi.org/10.1353/not.2012.0050.

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8

Eijsbouts, W. T. "The Barroso Drama: Campidoglio, Rome – 29 October 2004: How the Form Was Brought to Matter." European Constitutional Law Review 1, no. 2 (2005): 155–74. http://dx.doi.org/10.1017/s1574019605001550.

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Meeting of constitutional form and matter. Matter in the sense of Machiavelli's ‘political life’, clashes between the establisment and the people. EU investiture struggle and its outcomes. Structural elements of the EU Constitution: authority, representation, political federalism.

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9

INGLEHEART, JENNIFER. "OVID, TRISTIA 1.2: HIGH DRAMA ON THE HIGH SEAS." Greece and Rome 53, no. 1 (2006): 73–91. http://dx.doi.org/10.1017/s0017383506000052.

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In the first poem of Tristia 1, Ovid claims me mare, me uenti, me fera iactat hiems (‘the sea, the winds, the savage winter storm harass me repeatedly’, 1.1.42). This is no mere rhetorical flourish: the immediacy of the present tense becomes apparent in the second poem in the collection, which purports to be the poet's words as he faces a storm at sea. Critics tend to treat this poem as a literary exercise, focusing upon Ovid's exploitation of epic descriptions of the sea as a vast elemental force, subject to the machinations of the gods. In particular, interest has centred upon Ovid's debt to

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10

MAN'KOVSKII, ARKADII. "ROME AND CARTHAGE BY A.V. TIMOFEEV: ON THE PROBLEM OF THE GENESIS OF “HISTORICAL FANTASY” AS A GENRE VARIETY OF RUSSIAN ROMANTIC DRAMA OF THE 19TH CENTURY." Literaturovedcheskii Zhurnal, no. 3 (2021): 142–63. http://dx.doi.org/10.31249/litzhur/2021.53.10.

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The paper explores the genre of scarcely studied play by Russian minor writer Alexei V. Timofeev (1812-1883) Rome and Carthage (1837). Timofeev’s contemporary literary critic Osip Senkovskii treated like poet’s failure his use of romantic techniques in the play on ancient plot. Taking into account this opinion the paper analyzes the paratextual elements in the play, the way of describing characters, the division of the play into acts, the connection of the plot events with historical facts. The paper argues that the play approaches the kind of romantic drama, which the author suggests to call

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11

Wright, Matthew. "The scripted audience in Roman comedy." Trends in Classics 16, no. 1 (2024): 144–69. http://dx.doi.org/10.1515/tc-2024-0006.

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Abstract Despite the prevalence of audience-centred drama criticism, very little is actually known about the composition or nature of theatre audiences in antiquity. Metatheatrical passages in Plautus’ and Terence’s comedies in which the audience is described or addressed are usually treated as historical evidence for real-life theatre audiences in Republican Rome. This article argues that it is preferable to treat the comic audience as a fictional character. The scripted audience is recurrently portrayed by the comedians in a far-fetched and anti-realistic manner: it can be treated as a stere

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12

Bexley, Erica. "What is Dramatic Recitation?" Mnemosyne 68, no. 5 (2015): 774–93. http://dx.doi.org/10.1163/1568525x-12341693.

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This article examines the literary evidence for recitations of drama in first- and early second-century c.e. Rome. It begins by contextualizing the practice of recitatio, and thereafter focuses on the central question of how a solo speaker could recite a play so as to render it intelligible for his audience. Two solutions suggested by extant sources are voice and gesture; it is possible that the individuals reciting plays either altered their intonation or inserted specific movements to signify a change of character. Although both of these solutions are tentative, they indicate nonetheless tha

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13

Vasudevan, Senthilvel. "A Statistician’s perspective on Re-Orientation Of Medical Education in Medical Curriculum." International Journal of Medical Sciences and Nursing Research 3, no. 2 (2023): 6–8. http://dx.doi.org/10.55349/ijmsnr.20233268.

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Background: Re-Orientation of Medical Education (ROME) is an essential and important part of medical education. Biostatistics play an important role in medical field research. In this article, I have discussed the reorientation of medical education, statistician’s role in it, what would be taught in that program and its importance. Materials and Methods: Total number of students of 7th semester are divided into 4 groups. Each group selects their own topic. After that, they discussed the related topic and from the proposal to their research/study. Before going to the field to collect the data,

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14

Agbetuyi, Olayinka. "Authority and Moral Conflicts in the Films of Adébáyọ Fálétí: Àfọ̀njá, Gáà, Ṣawo Ṣẹ̀gbẹ̀rì and the Yorùbá Cosmopolis". Yoruba Studies Review 3, № 2 (2021): 1–13. http://dx.doi.org/10.32473/ysr.v3i2.129990.

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In this piece, I examine the role of authority in Yorùbá society and how au[1]thority is subverted by moral conflicts generated in the political evolution of the Yorùbá state from city state to empire, leading to disastrous consequences in the society at large as presented in the films of Adébáyọ Fálétí, specifically in Àfọnjá (2002), Basọrun Gáà (2004) and Ṣawo Ṣẹgbẹ ̀ rì̀ (2005). I argue that such pains and pangs of transformation are not unique to Yorùbá society but mirror similar political evolutions in other societies such as Rome and Greece. Such political upheavals led to the celebrated

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15

Vasudevan, Senthilvel. "A Statistician's perspective on Re-Orientation Of Medical Education in Medical Curriculum." International Journal of Medical Sciences and Nursing Research 3, no. 2 (2023): 6–8. https://doi.org/10.55349/ijmsnr.20233268.

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Abstract Background:  Re-Orientation of Medical Education (ROME) is an essential and important part of medical education.  Biostatistics play an important role in medical field research.  In this article, I have discussed the reorientation of medical education, statistician’s role in it, what would be taught in that program and its importance. Materials and Methods:  Total number of students of 7<sup>th</sup> semester are divided into 4 groups.  Each group selects their own topic.  After that, they discussed the related topic and from the proposal

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16

Bosher, †Kathryn. "Problems in Non-Athenian Drama: Some Questions about South Italy and Sicily." Ramus 42, no. 1-2 (2013): 89–103. http://dx.doi.org/10.1017/s0048671x00000084.

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As Martin Revermann forecast in 1999, the reception history of Greek drama has become ‘big business’ and, as the present volume demonstrates, we are indeed trying to move beyond the ‘Atheno-centric civic ideology approach to Greek drama, which has, fruitfully, been dominating our mode of thinking for quite some time now'. Nevertheless, like Revermann, I believe that work on the reciprocity between social context and theatre that Nothing to do with Dionysos? Athenian Drama in its Social Context (1990) so well exemplifies has been and continues to be an important approach to the field. Examining

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17

Bond, Helen K. "Josephus on Herod’s Domestic Intrigue in the Jewish War." Journal for the Study of Judaism 43, no. 3 (2012): 295–314. http://dx.doi.org/10.1163/157006312x644128.

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Abstract This article argues that women and domestic intrigue are prominent within the Herod narrative in Josephus’ Jewish War for a specific rhetorical reason. While the first half of the narrative presents the famous king in encomiastic terms, using him to illustrate Josephus’ contention that Jews generally were content to remain loyal to Rome, the second half of the account subtly presents a rather different thesis. Attention to domestic drama allowed Josephus to suggest that Herod was a man who was unable to control either his own emotions or his turbulent family, and so was unfit to rule.

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18

Dr., Ningombam Sanjay Singh. "Shakespeare's Rome and Egypt and their People in Antony and Cleopatra: A Critical Analysis." Criterion: An International Journal in English 15, no. 1 (2024): 261–70. https://doi.org/10.5281/zenodo.10795654.

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William Shakespeare’s Antony & Cleopatra (1606) has been viewed as a Roman history, a heroic drama and a monument to romantic passion. The play is appreciated primarily for its splendid representation of human life in political, moral, sexual, sensual, feminine wiles of Cleopatra, sensuality, emotional excess, politics versus love, and transcendent themes. Edward Said’s Orientalism (1978) contends that the portrayal of the Orient in Western texts was a sort of discourse based on a transcendental dichotomy between the West and the Orient that designated Asia or the East, ge

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19

Elliott, Jackie. "Early Latin Poetry." Brill Research Perspectives in Classical Poetry 2, no. 4 (2022): 1–131. http://dx.doi.org/10.1163/25892649-12340006.

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Abstract This analysis explores aspects of the extant fragmentary record of early Roman poetry from its earliest accessible moments through roughly the first hundred and twenty years of its traceable existence. Key questions include how ancient readers made sense of the record as then available to them and how the limitations of their accounts, assumptions, and working methods continue to define the contours of our understanding today. Both using and challenging the standard conceptual frameworks operative in the ancient world, the discussion details what we think we know of the best documente

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20

Purciello, Maria Anne. "Early Modern Comedy and the Politics of Religion: Reconsidering Comedy in Rospigliosi's Il Sant'Alessio." Journal of the Royal Musical Association 143, no. 1 (2018): 51–87. http://dx.doi.org/10.1080/02690403.2018.1434341.

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ABSTRACTGiulio Rospigliosi and Stefano Landi's 1634 revisions of Il Sant'Alessio for the Barberini stage expanded the role of comedy within the opera. These revisions reveal an important juncture in the history of religious comedy and lay the foundation for the development of a comic rubric for the still-developing operatic genre. This article examines the legend of St Alexis and its potential for historic reinterpretation in light of the Barberini family's religious and political goals. Its consideration of the interrelationship of religion and comedy in early modern sacred drama provides the

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21

Gargiulo, Marco, and Antonio Catolfi. "Lingua e spazio urbano a Roma nel racconto di Ettore Scola. Il caso di Una giornata particolare (1977)." Bergen Language and Linguistics Studies 10, no. 1 (2019): 12. http://dx.doi.org/10.15845/bells.v10i1.1561.

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This article aims to focus on two main aspects of Rome urban space vision and representation through Ettore Scola’s filmography: on the one hand, we try to decode the interconnections between languages and cinematic architectural space and, on the other hand, we intend to disclose how Scola meant to create a connection between his personal cinematic narrative and the tangled urban space in the city of Rome. Our investigation is mainly focused on the so called “urban village” Palazzo Federici, a town within the city, which is the A Special Day and The Story of a Poor Young Man’s main loca

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22

Wesker, Arnold. "The Nature of Theatre Dialogue." New Theatre Quarterly 2, no. 8 (1986): 364–68. http://dx.doi.org/10.1017/s0266464x00002372.

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‘What makes one sentence into a line of poetry and another sentence dull and lifeless?’ This was one of the questions Arnold Wesker set out to answer from the point-of-view of the practising playwright rather than the critical theorist, when he delivered the following pape; to the biennial conference of the International Association of Theatre Critics in Rome in 1985. He examines the constituent elements of stage dialogue in supposdly ‘raistic’ drama and th rigorous if not always conscious process of artistic selection and shaping diotated, in his own practice, by the natur of the originating

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23

Veress, Ferenc. "Following the Star : Nativity Scenes and Sacred Drama from the Middle Ages to the Baroque." Uránia 1, no. 1 (2021): 58–77. http://dx.doi.org/10.56044/ua.2021.1.4.eng.

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This study discusses the origin, and liturgical function, of a popular accessory of the Christmas celebrations, that is, the Bethlehem nativity scene. The events of the life of Jesus attracted much attention in the early period of Christianity, as a result of which the Holy Land was visited by flocks of pilgrims. Descriptions of the sentiments aroused by a pilgrimage to Bethlehem may be found in sources as early as the letters of Saint Jerome. Fragments of the Bethlehem manger were kept in the Santa Maria Maggiore Cathedral in Rome, so it is here that one of the first nativity scenes, a sculpt

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24

Nikolić, Časlav V. "„KAD BIH BIO ISTORIČAR“: VULKANI I ISTORIJA U ROMANU „KOD HIPERBOREJACA“ MILOŠA CRNjANSKOG." Nasledje, Kragujevac XVIII, no. 50 (2021): 371–88. http://dx.doi.org/10.46793/naskg2150.371n.

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When we repeat the question of Wilhelm Dilthey about the possibility of historical cog- nition with Peter Sloterdijk, our interpretation will shed light on the perspective of the heroes in the novel At Hyperboreans by Miloš Crnjanski. This hero thinks of himself as a historian by taking into account what preceded written history. What precedes official history is not only what has not been recorded in human existence, but above all those values that establish our planet. The comprehensive historical opinion about Italy and Rome, as Crnjanski examines in fiction, also implies a geological und

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25

Pietrych, Krystyna. "Włoskie inicjacje Aleksandra Wata." Poznańskie Studia Polonistyczne. Seria Literacka, no. 38 (October 15, 2020): 157–79. http://dx.doi.org/10.14746/pspsl.2020.38.7.

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The article presents the stages of Aleksander Wat’s first journey to Italy in 1949 – starting from Venice, through Florence and Rome, finishing in Naples and Capri. Most of all, the article interprets the poetic records of the places visited by the poet and his impressions written down in letters. As a result, what the journey to Italy becomes for Wat is not only a discovery of the beauty of landscape and the plenty of art, but, most importantly, an experience of physical contact with the Mediterranean land, an initiation into the fascinating witnessing of the incarnation of cultural tradition

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26

HOBDEN, FIONA. "History Meets Fiction in Doctor Who, ‘The Fires of Pompeii’: A BBC Reception of Ancient Rome on Screen and Online." Greece and Rome 56, no. 2 (2009): 147–63. http://dx.doi.org/10.1017/s0017383509990015.

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‘Ancient Rome!’ The door of the iconic police box squeaks open. The camera pans, following a dark-haired man as he emerges, pushes through a curtained doorway, and, with a glint in his eye, glee in his smile, and a touch of London in his voice, announces their destination to his redhead companion. So begins ‘The Fires of Pompeii’, the second episode in the fourth season of the current BBC (British Broadcasting Corporation) science-fiction drama Doctor Who. And so, no doubt, began the scribbling of pens on notebooks, as classicists who examine popular receptions of ancient Greece and Rome recog

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27

Hendria, Ricky, and Sherly Franchisca. "General Retaliation Against The Roman Empire as Seen in William Shakespeare’s Coriolanus." Jurnal Ilmiah Langue and Parole 2, no. 2 (2019): 36–46. http://dx.doi.org/10.36057/jilp.v2i2.366.

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This reseacrh is titled "General Retaliation Against The Roman Empire As Seen In William Shakespeare's Coriolanus. In this research the author will discuss several issues, namely (1) How is Coriolanus's struggle in defending Rome's empire from enemy attacks? (2) What did Coriolanus do to avenge himself at the Roman empire? (3) What is the story of Coriolanus at the end of the story? the objectives of this research are (1) To analyze Coriolanus' life at the beginning of the story (2) To explain the cause of coriolanus to avenge his Roman empire (3) To study and explain how much Coriolanus's gru

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Steel, Catherine. "II Channels of Communication." New Surveys in the Classics 36 (2006): 25–43. http://dx.doi.org/10.1017/s0017383506000192.

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The oral dimension to classical literature as a whole has, rightly, become an object of increasing interest to interpreters. The process of composition of any text usually involved a spoken element; public or private readings could be a medium by which a text was disseminated; and individual reading could involve audible speech, or having another person read aloud. All Roman literature involves some oral dimension. Within this broad framework, however, oratory occupies a distinctive space. A speech is prepared for a specific time and place, to be directed at a specific audience and, in the cas

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29

Woźniak, Katarzyna. "Pirandello jako widz zawodowy." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 126–34. http://dx.doi.org/10.24917/20811853.17.11.

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Pirandello as professional spectatorAbstractLuigio Pirandello’s drama were unfailingly popular with Polish directors between the beginningof the 1960s until the 1970s. Native creators have undertaken dramas from differentperiods of the Nobelist’s output and covering various topics – bourgeois comedy to metatheatricalworks. Most probably those do not include all that were staged then.It appears that an increased interest in the author is to be connected with the 25th anniversaryof his death, as is suggested by Mieczysław Brahmer in the 1961 Tak jest, jak się państwu zdaje(directed by Zofia Wier

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30

Flower, Harriet I. "Fabulae Praetextae in context: when were plays on contemporary subjects performed in Republican Rome?" Classical Quarterly 45, no. 1 (1995): 170–90. http://dx.doi.org/10.1017/s000983880004177x.

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The fabula praetexta is a category of Roman drama about which we are poorly informed. Ancient testimonia are scanty and widely scattered, while surviving fragments comprise fewer than fifty lines. Only five or six titles are firmly attested. Scholarly debate, however, has been extensive, and has especially focused on reconstructing the plots of the plays.1 The main approach has been to amplify extant fragments by fitting them into a plot taken from treatments of the same episode in later historical sources such as Livy, Dionysius, or Plutarch.2 This method was extended by Mommsen and others in

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31

Jessica, Dello Russo. "The Discovery and Exploration of the Jewish Catacomb of the Vigna Randanini in Rome Records, Research, and Excavations through 1895." Roma Subterranea Judaica, Publications of the International Catacomb Society 2011, no. 5 (2011): 1–24. https://doi.org/10.5281/zenodo.5670864.

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A thick government file dating to the final years of the Papal State exists on the Jewish catacomb found in 1859 below land that had belonged until recently to the family of CDAS secretary Mons. Felice Profili. Known even today as the “catacomb of the Vigna Randanini” after the property owner who first made its discovery known, its excavation was treated with marked differences from those in the neighboring “Christian” sites, although the hard labor and primitive methodology employed in all such undertakings no doubt remained much the same. As a non-Christian site beyon

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Wysłucha, Kamila. "THE RETURN OF THE PIPERS: IN SEARCH OF NARRATIVE MODELS FOR THE AITION OF THE QVINQVATRVS MINVSCVLAE." Classical Quarterly 71, no. 2 (2021): 693–706. http://dx.doi.org/10.1017/s000983882100080x.

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AbstractThe article argues that the famous story about the strike, exile and return of the Roman aulos players, which is recorded in the sixth book of Ovid's Fasti and referred to by other Latin and Greek sources, is based on a narrative model that already existed in Greece in the Archaic period. The study draws parallels between the tale of the pipers and the myth of the return of Hephaestus to Olympus, suggesting that, apart from similar plots, the two stories share many motifs, such as references to themes derived from comedy and satyr drama. Searching for a possible channel of transmission

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Braider, Christopher. "The Veritable Véritable Saint Genest: Tragedy and Martyr Play in Jean Rotrou." Modern Language Quarterly 79, no. 1 (2018): 25–52. http://dx.doi.org/10.1215/00267929-4264258.

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Abstract Students of seventeenth-century French drama offer oddly truncated readings of Jean Rotrou’s Véritable Saint Genest. Fascinated by the play within a play in which the eponymous saint is converted to a Christian martyr’s faith by performing a Christian martyr’s role, scholars focus on acts 2 through 4, where the play in question is rehearsed and staged. However, overlooking the frame in acts 1 and 5, where the subject of the interior play is chosen and the problematic consequences of the actor’s conversion are laid out, obscures Rotrou’s true theme, which is neither of those convention

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Rabinovich, Irina. "Hawthorne’s True Artist in The Marble Faun: The Jewish Miriam?" ATHENS JOURNAL OF PHILOLOGY 8, no. 4 (2021): 283–96. http://dx.doi.org/10.30958/ajp.8-4-3.

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The Marble Faun (MF), besides being a travelogue account of Rome, is a story about sin, guilt, suffering and abuse; it is also a tale about love and friendship. It is a story about the relationships between four different individuals united by their mutual love of art. The more interesting and convincing woman of the two female characters in the novel is unquestionably Miriam. Miriam is a rebel, an artist, and a compassionate and redemptive figure. Nevertheless, her art has been almost totally neglected, probably because most critics maintained that Miriam is an allegorical character lacking m

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Schmidt, T. E. "Mark 15.16–32: The Crucifixion Narrative and the Roman Triumphal Procession." New Testament Studies 41, no. 1 (1995): 1–18. http://dx.doi.org/10.1017/s0028688500022918.

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Robert Gundry, in a new major commentary on Mark, advances convincingly the thesis that the second Gospel is an extended apology for the cross. More specifically, Gundry argues that Mark portrays the passion of Christ as an aspect of his glory. This article intends to follow that thesis up an avenue not travelled in Gundry's commentary – namely the Via Dolorosa, which, I will argue, replaces the Sacra Via of Rome and renders the passion a triumph in a quite literal sense. In other words, I will maintain that details of a particular segment of the crucifixion narrative (Mark 15.16–32) evoke a R

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36

Sokteang, Sean, Pichetra Ou, Paul Pirtea, and Dominique de Ziegler. "Fertility Rates in Cambodia: A Bumpy Road." Fertility & Reproduction 06, no. 04 (2024): 156–65. https://doi.org/10.1142/s2661318224300034.

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In ancient times, Cambodia was home to one of the largest city complexes on earth, Angkor. At its apogee in the 12th century, the whole city of Angkor expanded over >170 hectares and had a population of 1–2 million people, which was only equaled by that of Ancient Rome. Angkor subsequently declined but remained occupied until the 18th century, at the beginning of the French protectorate. In modern times, Cambodia became embedded in the global conflict against the occupying Japanese troops during World War II. This was followed by a lasting war that engulfed the whole Southeast Asia area, bu

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37

Choi, Sun-Ah. "The Role of Historical Drama in Schiller's Maria Stuart." Korean Society For German History 53 (August 31, 2023): 281–308. https://doi.org/10.17995/kjgs.2023.8.53.281.

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Historical dramas reinterpret 'history' with realism from a theatrical point of view with fiction. Historians construct and describe history through the narrative process of interpreting it. When historical dramas based on history are created, the imagination of historical drama writers is reflected by referring to the records of historians. Schiller used the historical material he understood in the creation of the play. Schiller created a historical drama based on the confrontation between Mary Stewart and Elizabeth I. History has been accepted from various perspectives according to the times

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Rudolph, Julia. "Rape and Resistance: Women and Consent in Seventeenth-Century English Legal and Political Thought." Journal of British Studies 39, no. 2 (2000): 157–84. http://dx.doi.org/10.1086/386215.

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During the Exclusion crisis, the figure of a tyrant rapist, a ruler undone by his own lust and cruelty, briefly appeared on the London stage. Early in December 1680, Nathaniel Lee's Lucius Junius Brutus was performed by the Duke's Company in the Dorset Garden Theater. Lee's play recounted the tale of the rape of Lucretia and the subsequent actions taken by Brutus in resistance to this act of tyranny. This theatrical production was by all accounts a success, yet the play was banned from the stage after only six days; the order of the Lord Chamberlain stated objections to its “very Scandalous Ex

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Medda, Laura. "Scrivere per il teatro Il mondo sardo nei racconti drammatici di Giuseppe Dessì." Revista Italiano UERJ 12, no. 1 (2021): 18. http://dx.doi.org/10.12957/italianouerj.2021.61943.

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ABSTRACT: Questo articolo riguarda i testi per il teatro dello scrittore sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Nell'ordine, presentiamo i Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e il dramma storico Eleonora D'Arborea (Mondadori, 1964). Importante autore di romanzi e racconti, in questi testi, Giuseppe Dessì rappresenta la complessità del mondo sardo in linea di continuità con quanto espresso nelle sue pagine narrative e saggistiche. Il teatro permette allo scrittore di sperimentare un nuovo linguaggio capace di rappresentare, attraverso i pers

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Donegan, Robert. "Process Drama and Teacher in Role in ELT." JALT PIE SIG: Mask and Gavel 8, no. 1 (2020): 5–12. http://dx.doi.org/10.37546/jaltsig.pie8.1-1.

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This paper is a discussion of the potential of using specific drama techniques during English lessons at a Japanese private senior high school. The techniques in focus are process drama and specifically teacher in role (TiR). TiR is a specific technique that is often used in the broader area of process drama. Process drama concerns itself more with the experiential rather than the performance aspect of drama. In it, a teacher, or facilitator, goes into role with the participants in the co-construction of extended role-plays and dramas. Such methods have been used in English language teaching b

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Schachenmayr, Volker. "Emma Lyon, the Attitude, and Goethean Performance Theory." New Theatre Quarterly 13, no. 49 (1997): 3–17. http://dx.doi.org/10.1017/s0266464x00010757.

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The origins of the tableau vivant can be traced back at least to the pantomimus of ancient Rome, but the form achieved its peak of modern popularity in the late eighteenth and early nineteenth centuries, when poses plastiques sometimes struck an ambiguous balance between art and pornography. In the following article, Volker Schachenmayr calls for a re-evaluation of the form, investigating how far and in what ways a static pose, or attitude, can be a theatrical performance. His article focuses on the attitudes of Emma Lyon, later and more familiarly known as wife to Sir William Hamilton and mis

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Holland, Peter. "The Play of Eros: Paradoxes of Gender in English Pantomime." New Theatre Quarterly 13, no. 51 (1997): 195–204. http://dx.doi.org/10.1017/s0266464x00011209.

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Christmas pantomime, that peculiarly English form whose uncertain origins go back to the early eighteenth century, has evolved its own distinctive typology of cross-dressed characters, with a Principal Boy who is a girl, a Dame who is indisputably male, and even those humanoid visitors from the animal kingdom known as ‘skin parts’. David Mayer explored ‘The Sexuality of English Pantomime’ in the seminal ‘People's Theatre’ issue of the original Theatre Quarterly (TQ4, 1974), and twenty years on Peter Holland takes up the debate in the light of recent developments in sexual politics, critical ap

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Тресорукова, И. В. "IN MEMORIAM. LEADING HELLENIST AND UNIQUE CONNOISSEUR OF GREEK LITERATURE, MARIO VITTI, PASSED AWAY (1926-2023)." Kathedra, no. 14(1) (March 23, 2023): 126–28. http://dx.doi.org/10.52607/26587157_2023_14_126.

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14 февраля 2023 года в Риме скончался выдающийся исследователь греческой литературы, эллинист Марио Витти. Свою долгую жизнь он посвятил греческой литературе, был близким другом Одиссеаса Элитиса, Микиса Теодоракиса, Йоргоса Сефериса, Маноса Хадзидакиса и многих других выдающихся греческих литераторов, актеров, музыкантов и поэтов. Благодаря ему греческая литература пережила второе рождение: он обнаружил и опубликовал самый древний текст современного греческого театра («Диалог» Николаоса Софианоса), религиозную драму Теодоро Мончелезе с Закинфа «Эвгена» (Венеция, 1646 год) и два тома текстов А

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Belikov, Alexei E. "EVERYDAY EXOTICISM IN SCHOOL RHETORICAL EXERCISES OF ANCIENT ROME (ON THE MATERIAL OF QUINTILIAN’S “INSTITUTES OF ORATORY” AND TACITUS’ “DIALOGUE ON ORATORS”)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2023): 39–49. http://dx.doi.org/10.28995/2686-7249-2023-9-39-49.

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The article considers contexts from Quintilian (Quint. 3.6.96– 103; 7.8.3–6), Tacitus (Tac. dial. 35), and Juvenal (Iuv. 7.150–151) in order to show some features of the genre of Ancient school recitation and the typical images found in these exercises. At the same time, a criticism is made of the opinion widespread in the editions that some of these images (tyrants and tyrannicide) could be perceived as anti-monarchical and threatening to imperial power; two alleged cases of repressive actions of Roman emperors against specific rhetors are suggested to be regarded as excesses (and one of the

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45

Ye, Haoming. "A Study on the Healing Function of Healing Dramas Focusing on the K-Drama My Liberation Notes." Communications in Humanities Research 20, no. 1 (2023): 184–91. http://dx.doi.org/10.54254/2753-7064/20/20231345.

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This study explores the role of healing dramas as a conduit for disseminating cultural ideals and influencing collective behaviors. As society advances, dramas have seamlessly integrated into daily life, becoming a cultural touchstone. The contemporary emphasis on mental well-being has given rise to healing dramas, rooted in Japanese Shinto traditions. In the fast-paced modern urban life, healing has gained renewed significance, evident in the popularity of healing dramas and literature, offering solace. This paper investigates the healing potential of dramas through the K-drama My Liberation

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Tahir, Kiran, Atif Ashraf, and Majid ul Ghafar. "Portrayal of Parents and Children Behavior: A Study of TV Drama Serials in Pakistan." Global Digital & Print Media Review IV, no. III (2021): 20–32. http://dx.doi.org/10.31703/gdpmr.2021(iv-iii).03.

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This paper endeavors to explore the portrayal of parents in prime-time entertainment television dramas of Pakistan. Representation of the parenting style and children's response to their parents in the top three entertainment channels has been analyzed. Total 147 episodes of targeted drama serials of ARY, Hum, and Geo TV were selected through purposive sampling. The study found that the authoritative parenting style was most prevailing in the drama serials. The behavior of the children towards their parents was respectful except in the Drama serials broadcasted by ARY Digital. As Parents' resp

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Syarifudin, Sailina Karimah, Kurnia Khafidhatur Rafiah Khafidhatur Rafiah, and Mochamad Chairul Ihsan. "Effectiveness of Kopiko Candy Product Placement Strategy in Korean Drama Doctor Slump: The Role of Product Involvement, Placement Prominence and Celebrity Endorsement." Jurnal Wacana Ekonomi 23, no. 3 (2024): 015–23. https://doi.org/10.52434/jwe.v23i3.41544.

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The product placement strategy is increasingly favored in global marketing, especially through Korean drama streaming services, which are typically produced in series format. Kopiko candy leverages the popularity of Korean dramas by employing product placement in the Korean drama Doctor Slump. This study aims to examine the influence of product involvement, placement prominence, and celebrity endorsement on brand memory and brand attitude. The research involved 157 respondents who are fans of Korean dramas residing in Indonesia, aged 18 and above, who have watched the Doctor Slump series from

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Hameed, Muhammad Basharat, Dr Babrak Niaz, and Dr Malik Adnan. "Turkish Television Drama in Pakistan: Effects on University Students." Issue-2 04, no. 02 (2020): 376–97. http://dx.doi.org/10.36968/jpdc-v04-i02-019.

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This study attempts to investigate the effects of Turkish drama on University students. Drama plays influential role in changing life style of its audience. Through drama viewers come to know the diverse values of different cultures and it has a different effect on different audience. University level students are more expose to media especially with television drama and current study is an attempt to gauge the effects of Turkish drama on youth. The students of Punjab University Lahore, GC University Faisalabad, University of Gujrat and The Islamia University of Bahawalpur are selected as resp

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Hameed, Muhammad Basharat, Dr Babrak Niaz, and Dr Malik Adnan. "Turkish Television Drama in Pakistan: Effects on University Students." Issue-2 04, no. 02 (2020): 396–417. http://dx.doi.org/10.36968/jpdc-v04-i02-21.

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This study attempts to investigate the effects of Turkish drama on University students. Drama plays influential role in changing life style of its audience. Through drama viewers come to know the diverse values of different cultures and it has a different effect on different audience. University level students are more expose to media especially with television drama and current study is an attempt to gauge the effects of Turkish drama on youth. The students of Punjab University Lahore, GC University Faisalabad, University of Gujrat and The Islamia University of Bahawalpur are selected as resp

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50

Levy, Shimon. "The Gospel According to Hanoch." Theatre Research International 13, no. 2 (1988): 146–54. http://dx.doi.org/10.1017/s0307883300014449.

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Hanoch Levin, born 1943, is one of Israel's best known and most widely performed playwrights, and the author of some 20 strikingly morbid plays (as well as numerous short stories and many beautiful lyrics). Levin's drama has proved to be both an artistic and a commercial success. His political cabaret shows You, I and the Next War (1968) and Queen of the Bathtub (1970), ridiculed the self-righteous complacency of Israeli society after the overwhelming victory of the Six Day War in 1967. Levin, like the slave in triumphal processions of ancient Rome, stood behind hubrisridden Israel, whispering

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