Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.

One of the greatest dramatists of all time, Shakespeare, recognized that dramatic action was not limited to the stage. Now, in Drama and Intelligence, a work firmly rooted in developmental drama, Richard Courtney is the first to examine dramatic action as an intellectual and cognitive activity. Courtney explores the nature of those experiences we live "through" and which involve us in what is termed "as if" thinking and action.

Hamlet tells Horatio that there are more things in heaven and earth than are dreamt of in his philosophy. In Double Vision, philosopher and literary critic Tzachi Zamir argues that there are more things in Hamlet than are dreamt of--or at least conceded--by most philosophers. Making an original and persuasive case for the philosophical value of literature, Zamir suggests that certain important philosophical insights can be gained only through literature. But such insights cannot be reached if literature is deployed merely (...) as an aesthetic sugaring of a conceptual pill. Philosophical knowledge is not opposed to, but is consonant with, the literariness of literature. By focusing on the experience of reading literature as literature and not philosophy, Zamir sets a theoretical framework for a philosophically oriented literary criticism that will appeal both to philosophers and literary critics. Double Vision is concerned with the philosophical understanding induced by the aesthetic experience of literature. Literary works can function as credible philosophical arguments--not ones in which claims are conclusively demonstrated, but in which claims are made plausible. Such claims, Zamir argues, are embedded within an experiential structure that is itself a crucial dimension of knowing. Developing an account of literature's relation to knowledge, morality, and rhetoric, and advancing philosophical-literary readings of Richard III, Macbeth, Romeo and Juliet, Othello, Antony and Cleopatra, Hamlet, and King Lear, Zamir shows how his approach can open up familiar texts in surprising and rewarding ways. (shrink)

The following is simultaneously an essay in sociological theory, in cultural sociology, and in the empirical reconstruction of postwar Western history. Per theory, it introduces and specifies a model of cultural trauma - a model that combines a strong cultural program with concern for institutional and power effects - and applies it to large-scale collectivities over extended periods of time. Per cultural sociology, the essay demonstrates that even the most calamitous and biological of social facts - the prototypical evil of (...) genocidal mass murder - can be understood only inside of symbolic codes and narratives; that these frames change substantially depending on social circumstances; and that this culture process is critical to establishing understandings of moral responsibility. Empirically, this essay documents, in social and cultural detail, using both secondary and primary sources, how it was that the `Holocaust' gradually became the dominant symbolic representation of evil in the late twentieth century, and what its consequences have been for the development of a supra-national moral universalism that may restrict genocidal acts in the future. (shrink)

Employing theoretical resources from Transactional Analysis and drawing from interviews with managers dealing with social or environmental issues in their role, we explain how CSR activity provides a context for dramas in which actors may ignore, or discount aspects of self, others, and the contexts of their work as they maintain and reproduce the roles of Rescuers, Persecutors and Victims. In doing so, we add to knowledge about CSR by providing an explanation for how the contradictions of CSR are avoided (...) in practice even when actors may be aware of them. Specifically, we theorise how CSR work can produce dramatic stories where adversity is apparently overcome, whilst little is actually achieved at the social level. We also add to the range of psychoanalytic tools used to account for organisational behaviours, emphasising how TA can explain the relational dynamics of CSR. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama on the Run:A Prelude to Mapping the Practice of Process DramaPamela Bowell (bio) and Brian Heap (bio)In the current educational climate prevailing in a number of countries, increased emphasis is being placed on the concept of "the artist in schools." Funding is being channeled to support a range of initiatives and schemes that are designed to bring arts professionals from all the art forms into the classroom (...) where they place their artistic talents, knowledge, and insights alongside the pedagogic skills of the teacher.We see exciting projects in which artists work with children in school—visual artists to create murals, musicians to compose and perform operas, dancers to choreograph new ballets, and actors and directors to devise plays. Many of the outcomes are of high quality, and the children who have been fortunate enough to be involved have enjoyed the experiences and have gained a great deal from them. This would seem to be a state of affairs to be applauded unreservedly, as such projects surely enrich the lives of the pupils and schools in which they take place. In one sense, of course, this is undeniably true, and we have no intention of suggesting otherwise. However, in reality, this is a much more complex situation. It raises a number of key issues for us as educational practitioners who work in the field of applied theatre, sharing with others, as Judith Ackroyd describes, "a belief in the power of the theatre form to address something beyond the form itself."1The most critical issue is the perceived separation of the artist from the teacher that can sometimes be encouraged by artists in schools projects. We sense a dangerous precedent here. It becomes all too easy for two erroneous assumptions to be made, namely that teachers cannot be considered to be artists in their own right, while artists on the other hand can be accorded [End Page 58] the status of teacher. In our own experience too, the nature of educational funding can be extremely volatile, subject to all kinds of shifts in the prevailing political and economic climate, as well as adjustments to the ways in which funding is applied according to the social and educational priorities of the time. Too frequently, education falls victim to what might be described as "the-flavor-of-the-month syndrome."Those who are involved with teacher education, both pre- and in-service, make superhuman efforts to respond with alacrity to the new demands as courses are reviewed and reorganized accordingly. The trainees of the next generation find themselves with a new "party line" to toe as their courses conform to the new priority. This is all well and good—until the priority changes and gaps suddenly appear in the knowledge or skills or understanding of teachers. What was received wisdom becomes a deficit model as focus changes, and the circle is now expected to be squared.Under these circumstances, it would seem a more prudent policy to train teacher-artists who would have the ability to meld their pedagogical understanding and skill with an aesthetic craft and sensibility than to rely on visiting artists as the "natural" or "normal" providers of arts education. This would ensure not only that teachers would make better, more informed use of visiting artists but also that children's expertly guided engagement with the arts would be a permanent and enduring aspect of their regular schooling rather than a "special" event subject to the vagaries of arts funding or policy. This might seem an easy statement to make for people such as ourselves, who have spent whole careers working as teacher-artists within the field of drama in education. But it might seem an altogether more daunting prospect for teachers, or intending teachers, who are not specialists in the arts.Having spent a great deal of our respective careers working in teacher education, we are very conscious of this possibility. To this end, our research collaboration has been centered on exploring and coming to understand more fully, clearly, and precisely how the teacher functions as an artist within the particular genre of applied theatre known as process drama. Embedded within the increase of our... (shrink)

En el siguiente artículo, nos proponemos indagar sobre la personalidad drámatica que Platón imprimió a alguno de sus personajes, a través del análisis de sus discursos. Junto a ello, se manifestará la aparición diferenciada del filósofo, y de cómo es que este elude los problemas dramáticos que envuelven a los no-filósofos, a partir del distinto interés, comportamiento y comprensión. Sostendremos nuesta interpretación sobre la base de que todos los discursos que conforman el Banquete son verdaderos, donde “verdad” será entendida tal (...) como Heidegger la comprendió dentro de su interpretación de la filosofía de Platón y Aristóteles, esto es, en tanto desocultamiento. (shrink)

This essay considers the impact of digital networks in organizations on worker autonomy. Worker autonomy, the control that workers have over their own work situation, is claimed in this essay to be a key determinant for the quality of work, as well as an important moral goal. Digital networks pose significant threats to worker autonomy as well as opportunities for its enhancement. In this essay, the notion of worker autonomy is analyzed and evaluated for its importance and moral relevance. It (...) is then considered how digital networks both threaten worker autonomy and offer opportunities for its enhancement. Three major opportunities (enhanced communicative powers, increased informedness, teleworking) and threats (electronic monitoring, task prestructuring, and dependency creation) are discussed and analyzed. Finally, the dynamics that determine the impact on worker autonomy of the introduction of a digital network in organizations are investigated. A particular model for analyzing these dynamics and their impacts, Bryan Pfaffenberger's model of a technological drama. It will be illustrated how this model illuminates these dynamics by analyzing them as a dialectic of strategies of technological regularization by design constituencies and technological adjustment by impact constituencies. It will also be assessed what role network design has in this process. (shrink)

The motif of the ‘drama of being’ is a dominant thread that spans the entirety of Levinas's six decades of authorship. As we will see, from the start of his writing career, Levinas consciously frames the tension between ontology and ethics in a dramatic form. A careful exposition of this motif and other related theatrical metaphors in his work–-such as ‘intrigue,’ ‘plot,’ and ‘scene’–-can offer us not only a better appreciation of the evolution of Levinas's thought, but also of (...) his proper place within the western philosophical tradition. Levinas accuses western philosophers of being exclusively attuned to what he calls the ‘drama of existence.’ And even then, philosophers have eluded the implications of the tragic fatalism that define this drama. Philosophers are generally unaware of an ‘other scene’ that radically alters the fatalistic logic of the ontological drama. Levinas calls this other scene the ‘ethical intrigue.’. (shrink)

Plato's Sophist is complex. Its themes are many and ambiguous. The early grammarians gave it the subtitle1tEp1. 'tau ov'to~ ('on being') and assigned it to Plato's logical investigations. The Neoplatonists prized it for a theory of ontological categories they preferred to Aristotle's. Modern scholars sometimes court paradox and refer to the Sophist as Plato's dialogue on not-being (because the question ofthe possibility of not-being occupies much of the dialogue). Whitehead took the Sophist to be primarily about ouvo.~t~ ('power') and found (...) in it many of the central ideas of process theology.2 Heidegger thought it articulated the 'average concept of being in general'.3 In Cornford's view the Sophist is mainly about truth and falsehood. Ackrill, Frede and most analytic philosophers think it is about predication.4 Stanley Rosen treats it as a metaphysico-aesthetic dialogue: in his view it is about the relation of images to originals.5 As far as the title of the dialogue goes, however, opinion is almost universal. Do not be misled: 'the definition of the sophist' observed Archer-Hind 'is simply a piece of pungent satire'6 and he added that 'we may be sure that (Plato] cared little about defining the sophist, but very much about the metaphysical questions to which the process of definition was to give rise'.7 The most spectacular case of agreement with this judgment can be found in Cornford, who omits to translate the sections on the definition of the sophist because, as he says 'the modern reader ... might be wearied'.8. (shrink)

In this paper I address the issue of narrativity in music. The central question is the extent to which pure instrumental music in the classical tradition can or should be understood as narrative, that is, as narrating a story of some kind. I am interested in the varying potential and aptness for narrative construal of different sorts of instrumental music, and in what the content of such narratives might plausibly be thought to be. But ultimately I explore, at greater length, (...) an alternative way of construing musical process, namely, as dramatic rather than narrative in nature, following the lead of two musicologists, Anthony Newcomb and Fred Maus. After a comparison of the respective merits of narrative and dramatic construals of music, the paper concludes with an illustrative reading, in dramatic mode, of part of the opening movement of Schubert's Piano Sonata in A minor, D. 845. (shrink)

Maternal insightfulness or the capacity to see things from the child’s point of view, is considered to be a crucial construct for therapeutic change. In the present study, we aimed to implement the knowledge gleaned from the studies on attachment theory and maternal insightfulness into clinical practice to create an intervention program for mothers of children-at-risk due to inadequate parental care. We used drama therapy to “practice” maternal insightfulness in more “experiential” ways, because the use of creative expressive means (...) may be accessible and effective for the target population of the study and help improve maternal care. We used a manualized 10-week drama therapy-group intervention, focusing on the core concepts of maternal insightfulness: insightfulness, separateness, complexity, and acceptance. We used various dramatic means to explore and experience these components of maternal insightfulness. Forty mothers of children-at-risk took part in eight groups of parental insightfulness drama therapy. To evaluate the efficacy of the intervention, we used the Insightfulness Assessment interview, which produces 10 scales and a final classification of PI and non-PI. The Child Behavior Check List was used to evaluate a change in children’s behavior problems. The assessment took place at three time points: before the intervention, right after the end of the intervention, and 6 months following the intervention. Results at T2 showed a significant improvement compared to T1 in some of the maternal insightfulness scales, but not in the maternal insightfulness categorical classification. At T3, there was a significant change in the classification of the mothers, from non-insightful to positively insightful. At T3, there was also a significant decline in the children’s externalized and general behavioral problems. The results of this study contribute to an evidence-based practice of using drama therapy in the treatment of mothers and children at risk. (shrink)

Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.

This article examines the technological construction of political power, as well as resistance to political power, by means of an "ideal-typical" model called a technolog ical drama. In technological regularization, a design constituency creates artifacts whose features reveal an intention to shape the distribution of wealth, power, or status in society. The design constituency also creates myths, social contexts, and rituals to legitimate its intention and constitute the artifact's political impact. In reply, the people adversely affected by regularization engage (...) in myth-, context-, or artifact-altering strate gies that represent an accommodation to the system or a conscious attempt to change it. A technological drama, in short, is a specifically technological form of political discourse. A key point is that throughout all three processes, political "intentions," no less than the facticity and hardness of the technology's "impact," are themselves constituted and constructed in reciprocal and discursive interaction with technological activities. Technology is not politics pursued by other means; it is politics constructed by technological means. (shrink)

En el presente escrito se hace una lectura filosófica de la ética protestante a partir de un talante predominante en la época que circunscribe al barroco mostrándoles como una forma fundamental y fundacional de la Modernidad europea ejemplificado a través del drama trágico alemán y en contraste con una configuración alternativa y desemejante de un proyecto civilizatorio propiamente barroco y utópico en las colonias americanas. Palabras clave: Barroco - Talante - Protestantismo - Modernidad - Ethos.

Drama and Feeling makes a case for placing educational drama firmly within the curriculum and provides drama educators with new insight into the dramatic art form and process.

The principles of classical physics, including deterministic dynamics and observability of physical states, are incompatible with the existence of unobservable conscious minds that possess free will. Attempts to directly accommodate consciousness in a classical world lead to philosophical paradoxes such as causally ineffective consciousness and possibility of alternate worlds in which functional brain isomorphs behave identically but lack conscious experiences. Here, we show that because Chalmers’ principle of organizational invariance is based on a deficient nineteenth century classical physics, it is (...) inherently flawed and implies evolutionary inexplicable epiphenomenal consciousness. Consequently, if consciousness is a fundamental ingredient of physical reality, no psychophysical laws such as Chalmers’ principle of organizational invariance are needed to establish correspondence between conscious experiences and brain function. Quantum mechanics is the most successful and only modern physical theory capable of naturally accommodating consciousness without violation of physical laws. (shrink)

인간의 내적 성찰은 감정이나 사상이 동작이나 행위 속에서 즉 객관적 · 외적 현실과의 눈에 보이는 상호작용 속에서만 드러날 수 있다. 인간의 감각적 지각의 양상은 인간의 전체적 존재양상에 따라 변하기 마련이다. 이러한 다양한 인간의 감정양상 등을 문학에서는 희곡적으로 다루고 있다. 기존의 극(劇)이라는 용어는 넓은 의미로 연극과 희곡을 포괄하는 개념이며 좁은 의미로 연극만을 의미하는 개념이다. 그러나 본 연구에서는 넓은 광의개념인 희곡으로 그 범주를 정하고 ‘극 양식으로 본 『화엄경』『입법계품』의 등장인물 연구’에 대하여 살펴보았다. 본 연구에서 중점적으로 다룬 연구내용은, 『화엄경』『입법계품』의 핵심사상과『입법계품』에 등장하는 53명의 인물들이 강조하고 (...) 실천한 핵심전언(傳言)에 대해 분석한 것이다. 그리고 또『입법계품』 에 나타난 문학의 한 장르인 희곡적 특징을 기호학적 방법론으로써 등장인물에 대한 행위소 등에 대하여도 살펴보았다. 그 결과, 『화엄경』「입법계품」의 주인공인 선재동자는 바로 우리 중생을 대표하는 등장인물이라는 것이다. 또 선재동자가 찾아가 만나게 되는 한명 한명의 등장인물들은 치유의 해탈문으로서 선재의 불성(佛性)을 일깨워주고 있는 선지식들이라는 것을 확인할 수 있었다. 따라서 우리는 선재동자가 법을 구하기 위하여 끝없이 남행을 하면서도 피로해하거나 지치지 않고 선지식을 찾아 결국 성불하게 된다는 입법계품 의 핵심사상이 오늘날 현대인에게 시사하는 바는 자못 크다고 하겠다. (shrink)

En el presente escrito se hace una lectura filosófica de la ética protestante a partir de un talante predominante en la época que circunscribe al barroco mostrándoles como una forma fundamental y fundacional de la Modernidad europea ejemplificado a través del drama trágico alemán y en contraste con una configuración alternativa y desemejante de un proyecto civilizatorio propiamente barroco y utópico en las colonias americanas. Palabras clave: Barroco - Talante - Protestantismo - Modernidad - Ethos.

Scrutinizing the critical tendency to label texts or writers as "postmodern", scholar Stephen Watt argues that "reading post modernly" merely implies reading culture more broadly. In contemporary drama, Watt considers postmodernity less a question of genre or media than a mode of subjectivity shared by both playwright and audience. 6 illustrations.

Offering an ambitious study of the aesthetics of violence across art, literature, film and theatre, this volume brings together traditional German aesthetic and social theory with the modern problem of violence in art. Written in an engaging style, the book includes examples range from Homer and Shakespeare to slasher films and performance art.

As Headlam remarked more than thirty years ago, ‘It is a strange fact that the order of words in a Greek sentence has never been clearly appreciated.’ The emphatic word is placed at the beginning of the sentence, or as near it as the structure of the language permits. That is the general law, which I have discussed at length in my edition of the Oresteia. My object in this article is to make an exhaustive study of its operation in (...) a limited field. (shrink)

With the emergence of new communication technologies our bodies find themselves in constant reconstruction, giving birth to novel social interactive behaviours mediated or originated by these technologies. These unique manifestations describe the way in which our body lives out a kind of new drama through its interaction with the world. Perhaps touch can be extended in new unexpected ways, and the body will embark into a new exciting experience of itself and of the world.

Shakespeare wrote plays and young children are geniuses at playing. In March 2008 the Royal Shakespeare Company (RSC) launched Stand Up for Shakespeare, its manifesto for the teaching of Shakespeare in schools. Of its three stated principles—“Do it on your feet; see it live; start it earlier”—it is perhaps the third that is the most tantalizing. The company’s education department has done much over recent years to introduce key stage 2 children to a variety of his plays but has paid (...) less attention to children’s early years. In association with the University of Warwick, the company therefore commissioned a pilot project to introduce children as young as four and five years old to Shakespeare in order to .. (shrink)

The paper takes a Critical Discourse Analysis angle and joins Social Media Studies and Religious Studies perspectives of Computer Mediated Communication material to examine such strategies of online interpersonal communication as may foster civic solidarity on social networks sites over local incidents with national and international media coverage. Computer mediated discourse is often underpinned by ideological antagonism especially when tackling social, political, cultural and even religious issues. Our topic choice was occasioned by an infelicitous episode – a fire in a (...) local venue hosting a rock concert that resulted in a high number of casualties and fatalities. The tragic episode triggered some polarized and highly opinionated positioning in the social media, both independent of and/or in retaliation to media sourced accounts and personal posts. We analyzed qualitatively authentic CMC material as well as edited media inputs in order to establish if and how the networked, yet generationally diverse, public achieve symbolic solidarity through reactive and correlated digi-participation where sociocultural identities become tangent to such ecclesiastic issues as became salient and were up-cycled in the local political conjecture. (shrink)

RAAAF [Rietveld Architecture-Art-Affordances] is an interdisciplinary studio that operates at the crossroads of visual art, experimental architecture and philosophy. RAAAF makes location- and context-specific artworks, an approach that derives from the respective backgrounds of the founding partners: Prix de Rome laureate Ronald Rietveld and Socrates Professor in Philosophy Erik Rietveld.

The first view I shall investigate holds that the art form of tragedy expresses or contains certain eternal, acultural, and ahistorical facts which are "tragic" and present as such in the real or extra-artistic worlds; these facts are merely composed in tragedy as its content such that tragedy may be said to embody some perennial statement or thought about the things that are. The assumption here is that "tragedy" is a noun which can literally be applied to describe certain facts (...) or events we encounter in the everyday world. This term has been more specifically understood to refer to the fact of death , to a way of existence or human existence generally, or to a relationship existing between man and the world, or man and other men, or man and himself . Though tragedy certainly has its preferred topics, and these have sources in a world outside any given world which the particular tragedy constructs, there is surely a distinction between the world in general, with its facts, relationships, significances, and interpretations, and the particular world created by a given tragedy. This purely aesthetical creation of its own facts, relationships, significances, and interpretations is what I shall henceforth call the worked world of tragedy. Leon Rosenstein is currently working on "Hegelian Sources of Freud's Social and Political Philosophy," a four-article series to appear during 1977. He is an associate professor of philosophy at San Diego State University. (shrink)